tag:blogger.com,1999:blog-73800847167393284942020-06-07T06:17:42.634+03:00Plain and FancyMarioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.comBlogger1792125tag:blogger.com,1999:blog-7380084716739328494.post-2030700854095755882020-06-06T07:19:00.000+03:002020-06-06T07:19:00.194+03:00Wishbone Ash - Wishbone Ash (1970 uk, solid hard blues rock, 2001 japan remaster)<div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-v4-K1rOZfFo/XtqUYkvCauI/AAAAAAAANq0/o2WhEhWuSIIszRIusPqlnmctgP266UmSwCLcBGAsYHQ/s1600/Front%2B%2BCover%2BOBI%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="880" data-original-width="1000" height="281" src="https://1.bp.blogspot.com/-v4-K1rOZfFo/XtqUYkvCauI/AAAAAAAANq0/o2WhEhWuSIIszRIusPqlnmctgP266UmSwCLcBGAsYHQ/s320/Front%2B%2BCover%2BOBI%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/pLu7jevwsAo" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">For a band that quickly evolved into a radio-friendly prog-leaning outfit, it's a wonder that Wishbone Ash started out as the boogie and blues-based group that this debut reveals. If the term "jam band" existed in 1970, Wishbone Ash surely would have been a major player in that genre. As it was, this album stacked up nicely when compared with other British hard rock releases that year.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The dual lead guitar attack of Andy Powell and Ted Turner was a component that none of the above bands possessed, but unfortunately their (shared) lead vocals lacked the punch and authority necessary for hard rock bands to be taken seriously. So while they could rock as loudly and convincingly as virtually anyone, their lead singers, perhaps, held them back from being the force they should have been.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The follow-up, Pilgrimage, took steps to rectify Wishbone Ash's odd position, but this album nevertheless opened eyes and ears and revealed to the rock &amp; roll community a band with incredible potential and talent.&nbsp;</div><div class="separator" style="clear: both;">by <b>Dave Sleger</b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/--OnuRmyIIDA/XtqUcANp4vI/AAAAAAAANq4/WWwdUrDc4DYzngLFD2JVoaT49IjmH9Y_gCLcBGAsYHQ/s1600/Disc%2BCopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/--OnuRmyIIDA/XtqUcANp4vI/AAAAAAAANq4/WWwdUrDc4DYzngLFD2JVoaT49IjmH9Y_gCLcBGAsYHQ/s320/Disc%2BCopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. Blind Eye - 3:45<br />2. Lady Whiskey - 6:12<br />3. Errors Of My Ways - 6:57<br />4. Queen Of Torture - 3:25<br />5. Handy - 11:35<br />6. Phoenix - 10:27<br />All songs by <i>Andy Powell, Martin Turner, Steve Upton, Ted Turner</i><br /><br /><b>The Wishbone Ash</b><br />*Martin Turner - Bass, Vocals<br />*Andy Powell - Guitar, Vocals<br />*Ted Turner - Guitar, Vocals<br />*Steve Upton - Drums<br /><br /></div><a href="http://therockasteria.blogspot.gr/2017/10/wishbone-ash-first-light-1970-uk.html">1970&nbsp; Wishbone Ash - First Light (2007 release)</a><br /><a href="http://rockasteria.blogspot.gr/2012/10/wishbone-ash-tracks-1972-2001-uk-live.html">1972-2001&nbsp; Wishbone Ash - Tracks (2001 double disc release)</a>&nbsp; <br /><a href="http://therockasteria.blogspot.gr/2015/08/wishbone-ash-argus-1972-uk-guitar-rock.html">1972&nbsp; Wishbone Ash - Argus (2013 SHM remaster)</a>&nbsp; <br /><a href="http://rockasteria.blogspot.gr/2018/03/wishbone-ash-wishbone-four-1973-uk.html">1973&nbsp; Wishbone Ash - Wishbone Four (2015 audiophile remaster)</a><br /><a href="https://rockasteria.blogspot.com/2018/04/wishbone-ash-live-dates-1973-uk.html">1973&nbsp; Wishbone Ash - Live Dates (2013 double disc audiophile remaster)</a><br /><a href="http://therockasteria.blogspot.gr/2018/01/wishbone-ash-theres-rub-1974-uk-blazing.html">1974&nbsp; Wishbone Ash - There's the Rub (2013 SHM remaster)</a><br /><br /><a href="https://controlc.com/f7d8655f">Free Text&nbsp;</a><br /><a href="https://freetexthost.net/Gnvokyq">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0tag:blogger.com,1999:blog-7380084716739328494.post-72531863323478754222020-06-04T06:48:00.000+03:002020-06-04T06:48:04.347+03:00Terry Reid - Original Album Series (1968-91 fantastic box set, an amalgam of acid rock blues folk classic rock, 2015 five discs edition)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-YKDFb8oF-mQ/XtfiMElN34I/AAAAAAAANqQ/-k1x3ufbQrY9ZjWLf0Eu-IggQvQzFEg0QCLcBGAsYHQ/s1600/Front%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://1.bp.blogspot.com/-YKDFb8oF-mQ/XtfiMElN34I/AAAAAAAANqQ/-k1x3ufbQrY9ZjWLf0Eu-IggQvQzFEg0QCLcBGAsYHQ/s320/Front%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/PS1ncEkIeQ8" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">British rock singer Terry Reid could have been a lot more famous if he had been able to accept the slot of lead singer for the New Yardbirds in 1968. That slot, of course, went to Robert Plant, and the New Yardbirds became Led Zeppelin. Unlike Plant, Reid was also a guitarist, and the opportunity to head his own group no doubt played a part in his decision to gun for a solo career. Leading a guitar-organ-drums power trio, he recorded a couple of respectable, though erratic, hard rock albums while still a teenager in the late '60s. Some bad breaks and creative stagnation combined to virtually bring his career to a halt, and he never cashed in on the momentum of his promising start.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">A teen prodigy of sorts, Reid had turned professional at the age of 15 to join Peter Jay &amp; the Jaywalkers. His first couple of singles as a headliner found him singing in a sort of poppy blue-eyed soul vein. But by the time of his 1968 debut Bang, Bang You're Terry Reid, produced by Mickie Most, he'd switched to more of a hard rock approach. Most was also handling Donovan and the Jeff Beck Group at the time, and similarities to both of those acts can be heard in Terry Reid's first two albums -- proto-hard rock on the louder tunes, sweeter folk-rock on the mellow ones (Reid in fact covered a couple of Donovan compositions, although he wrote most of his own material). Reid's high voice was reminiscent of Robert Plant's, though not nearly as shrill, and his folky numbers especially are reminiscent of Led Zeppelin's most acoustic early cuts.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Reid, oddly, was considerably more well-known in the U.S. than the U.K. His first album, very oddly, was not even issued in Britain, although it made the American Top 200. It's been reported that he at least in part declined Jimmy Page's offer to join Led Zeppelin owing to his contractual commitments to record for Mickie Most as a solo artist, and to perform as an opening solo artist on the Rolling Stones' late-'60s U.S. tour. He did influence Led Zeppelin's history in a big way by recommending Plant and drummer John Bonham as suitable candidates for the group's lineup, after Plant and Bonham's pre-Led Zep outfit (the Band of Joy) played support at one of Reid's early gigs. Reid felt confident enough in his solo prospects to also turn down an offer to join Deep Purple (Ian Gillan was recruited instead).</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">An opening spot on the Rolling Stones' famous 1969 tour of America seemed to augur even brighter prospects for the future, but this is precisely where Reid's career stalled, at the age of 20. First he became embroiled in litigation with Mickey Most, which curtailed his studio activities in the early '70s. After a couple of personnel changes, he disbanded his original trio, leading a group for a while that included David Lindley and ex-King Crimson drummer Michael Giles (this quartet, however, didn't release any records). He moved to California in 1971 and signed to Atlantic, but his long-delayed third album didn't appear until 1973. Reid would release albums for other labels in 1976 and 1979, but none of his '70s recordings were well-received, critically or commercially (though 1976's Seed of Memory did briefly chart). He rarely recorded, though he did play some sessions and The Driver appeared in 1991.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Reid's catalog was reissued on various labels in the 21st century, and there was a resurgence of interest in his music as well. The Raconteurs recorded "Rich Kid Blues" for inclusion on 2008's Consolers of the Lonely, and made it a centerpiece of their live shows. He provided three songs to the soundtrack for Rob Zombie's horror film The Devil's Rejects. In 2009, he played the Glastonbury and WOMAD festivals. Two years later, he toured Ireland for the first time in 30 years and released the Live in London; it included performances of several new songs.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">In 2012, Reid was invited to play London's most famous jazz club, Ronnie Scott's, in celebration of their 50th anniversary -- he sold out three nights. He also returned to Glastonbury and played the Isle of Wight Festival for the first time since 1971. Reid's songs gained traction with 2000s pop artists. Rumer featured "Brave Awakening" on her charting Boys Don’t Cry album. America’s Got Talent winner Michael Grimm included "Without Expression" on his album Gumbo. DJ Shadow collaborated with Reid, who wrote lyrics for "Listen" that appeared on Reconstructed: The Best of DJ Shadow.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Reid toured the U.K. in 2013 and 2014, and performed the whole of Seed of Memory at the Borderline. In April 2016, the Washington Post ran a story about Reid working in Johnny Depp's home studio with Aerosmith's Joe Perry on a song for the guitarist's forthcoming solo album. The same month, Light in the Attic announced the release of The Other Side of the River, a collection of unreleased material and alternate takes from the 1973 album sessions for the twice-recorded River -- some that Reid didn't even remember. It was released in May.&nbsp;</div><div class="separator" style="clear: both;">by <b>Richie Unterberger</b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-8GWy0zWhTjI/XtfiJY2J21I/AAAAAAAANqM/KneYKo26o_Ynjm_vm4LRm73wXJwvpp-pACLcBGAsYHQ/s1600/Disc%2Bcopy001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-8GWy0zWhTjI/XtfiJY2J21I/AAAAAAAANqM/KneYKo26o_Ynjm_vm4LRm73wXJwvpp-pACLcBGAsYHQ/s320/Disc%2Bcopy001.jpg" width="320" /></a></div><div class="separator" style="clear: both;"><b>Tracks</b></div><div class="separator" style="clear: both;"><b><i>Disc 1 Bang, Bang You're Terry Reid 1968</i></b></div><div class="separator" style="clear: both;">1. Bang, Bang (My Baby Shot Me Down) (<i>Sonny Bono</i>) - 4:15</div><div class="separator" style="clear: both;">2. Tinker Tailor - 2:55</div><div class="separator" style="clear: both;">3. Erica - 3:52<span style="white-space: pre;"> </span></div><div class="separator" style="clear: both;">4. Without Expression – 4:47</div><div class="separator" style="clear: both;">5. Sweater - 2:06</div><div class="separator" style="clear: both;">6. Something's Gotten Hold Of My Heart (<i>Roger Cook, Roger Greenaway</i>) - 5:02&nbsp;</div><div class="separator" style="clear: both;">7. Season Of The Witch (<i>Donovan Leitch</i>) - 10:09</div><div class="separator" style="clear: both;">8. Writing On The Wall / Summertime Blues (<i>Terry Reid / Eddie Cochran, Jerry Capehart</i>) - 10:14</div><div class="separator" style="clear: both;">9. When You Get Home - 3:40</div><div class="separator" style="clear: both;">10.Loving Time (<i>Eric Leese, Terry Reid</i>) - 3:40</div><div class="separator" style="clear: both;">All compositions by <i>Terry Reid</i> except where noted</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-RcSXWHFAgHs/XtfiTc4LyWI/AAAAAAAANqU/1FFNUpbh6f8eA1iKIHxh36b_86WYiDJ7ACLcBGAsYHQ/s1600/Disc%2Bcopy002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-RcSXWHFAgHs/XtfiTc4LyWI/AAAAAAAANqU/1FFNUpbh6f8eA1iKIHxh36b_86WYiDJ7ACLcBGAsYHQ/s320/Disc%2Bcopy002.jpg" width="320" /></a></div><div class="separator" style="clear: both;"><b><i>Disc 2 Terry Reid 1969&nbsp;</i></b></div><div class="separator" style="clear: both;">1. Superlungs My Supergirl (<i>Donovan Leitch</i>) - 2:41</div><div class="separator" style="clear: both;">2. Silver White Light - 2:54</div><div class="separator" style="clear: both;">3. July - 3:32</div><div class="separator" style="clear: both;">4. Marking Time - 3:48</div><div class="separator" style="clear: both;">5. Stay With Me Baby (<i>George David Weiss, Jerry Ragovoy</i>) - 4:12</div><div class="separator" style="clear: both;">6. Highway 61 Revisited / Friends (<i>Bob Dylan / Terry Reid</i>) - 7:59<span style="white-space: pre;"> </span></div><div class="separator" style="clear: both;">7. May Fly - 3:42</div><div class="separator" style="clear: both;">9. Rich Kid Blues - 4:14</div><div class="separator" style="clear: both;">All titles by <i>Terry Reid</i> unless as else written</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-5VBXOnt6jak/XtfiWAifpYI/AAAAAAAANqY/Et-OkrALzeUWbJtSaH26sn0It5ge63FSQCLcBGAsYHQ/s1600/Disc%2Bcopy003.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-5VBXOnt6jak/XtfiWAifpYI/AAAAAAAANqY/Et-OkrALzeUWbJtSaH26sn0It5ge63FSQCLcBGAsYHQ/s320/Disc%2Bcopy003.jpg" width="320" /></a></div><div class="separator" style="clear: both;"><b><i>Disc 3 River</i></b></div><div class="separator" style="clear: both;">1. Dean - 4:45</div><div class="separator" style="clear: both;">2. Avenue - 5:08</div><div class="separator" style="clear: both;">3. Things To Try - 4:25</div><div class="separator" style="clear: both;">4. Live Life - 5:11</div><div class="separator" style="clear: both;">5. River - 5;45</div><div class="separator" style="clear: both;">6. Dream - 5:20</div><div class="separator" style="clear: both;">7. Milestones - 5:52</div><div class="separator" style="clear: both;">All Music and Lyrics by<i> Terry Reid&nbsp;</i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-EyKb24fa-KY/XtfiY57l9yI/AAAAAAAANqc/pEH59IE3UFQjZmx26dG5RXWCVNtFBuSwgCLcBGAsYHQ/s1600/Disc%2Bcopy004.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-EyKb24fa-KY/XtfiY57l9yI/AAAAAAAANqc/pEH59IE3UFQjZmx26dG5RXWCVNtFBuSwgCLcBGAsYHQ/s320/Disc%2Bcopy004.jpg" width="320" /></a></div><div class="separator" style="clear: both;"><b><i>Disc 4 Rogue Waves</i></b></div><div class="separator" style="clear: both;">1. Ain't No Shadow - 3:39</div><div class="separator" style="clear: both;">2. Baby I Love You (<i>Phil Spector, Ellie Greenwich, Jeff Barry</i>) - 3:52</div><div class="separator" style="clear: both;">3. Stop And Think It Over - 3:40</div><div class="separator" style="clear: both;">4. Rogue Wave - 5:42</div><div class="separator" style="clear: both;">5. Walk Away Rene (<i>Bob Calilli, Mikel Brown, Tony Sansone</i>) - 4:18&nbsp;</div><div class="separator" style="clear: both;">6. Believe In The Magic - 6:32</div><div class="separator" style="clear: both;">7. Then I Kissed Her (<i>Phil Spector, Ellie Greenwich, Jeff Barry</i>) - 4:44&nbsp;</div><div class="separator" style="clear: both;">8. Bowangi - 4:014</div><div class="separator" style="clear: both;">9. ll I Have To Do Is Dream (<i>Boudleaux Bryant</i>) - 5:26&nbsp;</div><div class="separator" style="clear: both;">All tracks by <i>Terry Reid</i> except where indicated</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-GeYloC7Uexk/XtfibVEyyRI/AAAAAAAANqg/HWMMmhF2bfY0jvjFH3RbhyzXwyVe-hRLQCLcBGAsYHQ/s1600/Disc%2Bcopy005.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-GeYloC7Uexk/XtfibVEyyRI/AAAAAAAANqg/HWMMmhF2bfY0jvjFH3RbhyzXwyVe-hRLQCLcBGAsYHQ/s320/Disc%2Bcopy005.jpg" width="320" /></a></div><b><i>Disc 5 The Driver</i></b><br />1. Fifth Of July (<i>Louise Goffin, Reid Savage</i>) - 5;11<br />2. There's Nothing Wrong - 5:05<br />3. Right To The End (<i>Gerard McMahon</i>) - 4:55<br />4. The Whole Of The Moon (<i>Mike Scott</i>) - 4:13<br />5. Hand Of Dimes - 3:04<br />6. The Driver (<span style="font-size: x-small;">Part I</span>) (<i>Hans Zimmer, Terry Reid, Trevor Horn</i>) - 0:45<br />7. If You Let Her - 4:28<br />8. Turn Around - 3:49<br />9. Gimme Some Lovin' (<i>Muff Winwood, Spencer Davis, Steve Winwood</i>) - 4:19<br />10.Laugh At Life - 4:48<br />11.The Driver (<span style="font-size: x-small;">Part II</span>) (<i>Hans Zimmer, Terry Reid, Trevor Horn</i>) - 4:37<br />All songs by <i>Terry Reid </i>except where stated<br /><br /><b>Musicians</b><br />*Terry Reid - Guitar, Vocals<br />*Keith Webb - Drums (Discs 1, 2)<br />*Eric Leese - Keyboards (Disc 1)<br />*Pete Solley - Keyboards (Disc 2)<br />*Leo Miles - Bass (Discs 3, 4)<br />*Conrad Isidore - Drums (Disc 3)<br />*David Lindley - Steel Guitar, Slide Guitar, Electric Guitar (Disc 3)<br />*Douglas Rodriguez - Guitar (Disc 4)&nbsp;<br />*John Siomos - Drums, Percussion (Disc 4)<br />*James E. Johnson – Organ (Disc 4)<br />*Sterling Smith - Organ (Disc 4)&nbsp;<br />*Terrence James - String Arrangements (Disc 4)&nbsp;<br />*Dyanne Chandler - Vocals (Disc 4)<br />*Maxine Willard Waters - Vocals (Disc 4)<br />*Dennis Williams - Vocals (Disc 4)<br />*Joe Walsh - Guitar (Disc 5)&nbsp;<br />*Jackie Lomax - Guitars (Disc 5)<br />*Brian Auger - Keyboards (Disc 5)<br />*Timothy B. Schmit - Bass (Disc 5)<br />*Alan White - Drums (Disc 5)<br />*Stewart Copeland - Drums (Disc 5)<br />*Jack Lancaster - Sax (Disc 5)<br />*Howard Jones - Keyboards (Disc 5)<br />*Enya - Vocals (Disc 5)<br /><br /><a href="http://therockasteria.blogspot.com/2014/01/terry-reid-superlungs-complete-studio.html">1966-69&nbsp; Terry Reid - Superlungs / The Complete Studio Recordings (2004&nbsp; two disc set)&nbsp;</a><br /><a href="https://therockasteria.blogspot.com/2015/04/terry-reid-seed-of-memory-1976-uk.html">1974&nbsp; Terry Reid - Seed of Memory (2004 remaster)&nbsp;</a><br /><br /><a href="https://controlc.com/a5ba2595">Free Text</a><br /><a href="https://freetexthost.net/tRyfMVk">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0tag:blogger.com,1999:blog-7380084716739328494.post-26926499808517682822020-06-03T06:13:00.000+03:002020-06-03T06:13:03.771+03:00Claire Hamill - Stage Door Johnnies (1974 uk, delicate folk soft rock, 2006 japan issue)<div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-WC7qEvJsZmM/XtZefcPmb2I/AAAAAAAANp4/T7khIsXmxDIe_tiLl4LmD_2E1ki6QW6KwCLcBGAsYHQ/s1600/Front%2BCover%2BOBI%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="813" data-original-width="1000" height="260" src="https://1.bp.blogspot.com/-WC7qEvJsZmM/XtZefcPmb2I/AAAAAAAANp4/T7khIsXmxDIe_tiLl4LmD_2E1ki6QW6KwCLcBGAsYHQ/s320/Front%2BCover%2BOBI%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/XqBepgGJfD4" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">Claire Hamill was born in Middlesborough in Northern England and has been in the music business since she was 17. In 1970 she was launched as one of Britain's first singer songwriters and seen by many commentators as in the vein of Joni Mitchell.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The album was "One house left standing" which showed the singer in a backdrop of her home town and a year later she went on her first U K tour supporting John Martyn.Up to 1973 she toured the USA with Procol Harum and Jethro Tull and came back to Britain to record her next album "October" at the same Manor studio of Richard Branson which Mike Oldfield was using to make what became "Tubular Bells".Her next tour support was for King Crimson.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">In 1973 Claire Hamill met Ray Davies who signed her to his Konk label for her 3rd album "Stage Door Johnnies" an album which included her first covers. We Gotta Get Out Of This Place – (Mann, Weil) – the Animals worldwide hit from 1965, nothing can top that but this is suitably agrressive and angry.&nbsp;&nbsp;</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Oh Daddy (Blues) (You Don't Have No Mamma At All) – (Herbert, Russell) – First recording by Ethel Waters, Cordy Williams' Jazz Masters (1921)&nbsp; but associated with&nbsp; Bessie Smith (Clarence Williams at the Piano) from 1923. It has been done by a lot of folk blues jazz types in both instrumental and vocal versions. This is a good version and not dissimilar to what Ray was doing on some tracks of the Kinks "Muswell Hillbillies" (1971) album. All The Cakes She Baked Him – very Joni Mitchell but very good. Trying To Work It Out – more Joni. Geronimo's Cadillac – (C. Quarto, M. Murphy) – Co-written and recorded by American country singer Michael Martin Murphey in 1972 (also the title cut of his 1972 debut album) the song went to #37 in the US pop charts. The song has been often covered. Here, it sounds like a sister piece (in mood) to The Kinks' circa 1971. Very good.&nbsp;</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">You Know How Ladies Are – quite beautiful with a touch of Ray Davies. Luck Of The Draw – very good with some nice up front twangy guitar and some hard lyrics. Stage Door Johnnies – Ray would love this … and so do I. Stage Door Johnnies was a English theatre reference to wealthy gentlemen who would wait outside the stage door hoping to escort chorus girls hem to dinner. The attract for the girls was (hopefully) marriage into the upper class, society and nobility.</div><div class="separator" style="clear: both;"><a href="https://whatfrankislisteningto.negstar.com/rock-pop/claire-hamill-stage-door-jonnies-konk-1974/">With a little help from Frank</a>...</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-VvZtCJfH58Q/XtZeiOZOPjI/AAAAAAAANp8/DoxGX_kR-70ptxYRoxHdmTO4RjpClsUWQCLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-VvZtCJfH58Q/XtZeiOZOPjI/AAAAAAAANp8/DoxGX_kR-70ptxYRoxHdmTO4RjpClsUWQCLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. We Gotta Get Out Of This Place (<i>Barry Mann, Cynthia Weil</i>) - 3:20<br />2. Oh Daddy (Blues) (You Don't Have No Mamma At All) (<i>Ed Herbert, William Russell</i>) - 3:44<br />3. All The Cakes She Baked Him - 3:21<br />4. Trying To Work It Out - 3:32<br />5. Geronimo's Cadillac (<i>Michael Martin Murphey, Charles John Quatro</i>) - 4:22<br />6. Something To Believe In (<i>Steve Miller</i>) - 4:09<br />7. You Know How Ladies Are - 2:44<br />8. You Take My Breath Away - 2:34<br />9. Go Now (<i>Larry Banks, Milton Bennett</i>) - 3:36<br />10.Luck Of The Draw - 3:10<br />11.Stage Door Johnnies - 2:07<br />All tracks composed by <i>Claire Hamill</i>&nbsp;except where indicated<br /><br /><b>Personnel</b><br />*Claire Hamill - Guitar, Keyboards, Vocals<br />*Phil Palmer - Lead Guitar<br />*Roy Neve - Guitar<br />*Nick South - Bass<br />*Paul Westwood - Bass<br />*Phil Chen - Bass<br />*Dave Rowberry - Keyboards<br />*Clem Cattini - Drums<br />*Jim Frank - Drums<br />*Neil McBain - Drums<br />*Laurie Brown - Trumpet<br />*Ray Davies - Backing Vocals<br />*Diz Disley - Guitar<br />*Tim Hinkley - Keyboards<br />*Alan Holmes - Flute<br />*Lew Warburton - String Arrangements<br /><br /></div><a href="https://therockasteria.blogspot.com/2016/09/claire-hamill-one-house-left-standing.html">1971&nbsp; Claire Hamill - One House Left Standing (2008 remaster with extra tracks)</a><br /><a href="https://therockasteria.blogspot.com/2016/09/claire-hamill-october-1972-uk.html">1972&nbsp; Claire Hamill - October (2008 remaster)</a><br /><a href="https://therockasteria.blogspot.com/2020/06/claire-hamill-abracadabra-1975-uk.html">1975&nbsp; Claire Hamill - Abracadabra (2006 japan remaster)</a><br /><br /><a href="https://controlc.com/8d9e971c">Free Text</a><br /><a href="https://freetexthost.net/BMoHhYG">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0tag:blogger.com,1999:blog-7380084716739328494.post-88755987796024790362020-06-02T07:09:00.000+03:002020-06-02T07:09:04.256+03:00Claire Hamill - Abracadabra (1975 uk, beautiful folk funky soft rock, 2006 japan remaster)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-a7vjR3WubaA/XtUocCdsvSI/AAAAAAAANpk/j8Vx-onTcTYteBm1ilUHTDXc35b7ksD0wCLcBGAsYHQ/s1600/Front%2BCover%2BOBI.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1337" data-original-width="1600" height="267" src="https://1.bp.blogspot.com/-a7vjR3WubaA/XtUocCdsvSI/AAAAAAAANpk/j8Vx-onTcTYteBm1ilUHTDXc35b7ksD0wCLcBGAsYHQ/s320/Front%2BCover%2BOBI.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/nrPVoZr-EJo" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">On her fourth album Abracadabra (1975) Claire Hamill, covered The Kinks’ `Celluloid Heroes’, Ian Anderson’s `Your Dear’, Paul Rodgers and Simon Kirke’s `I Love You So’ and the traditional `Jamaica’, although once again the buying public showed little interest. In 1976, she had a brief stint as the vocalist with Ric Grech’s S.D.M. (Square Dance Machine), but this proved to be unfruitful and she retired for a while.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Claire Hamill subsequently started writing for a few rock groups, even joining Wishbone Ash for one 1982 album, `Two Barrels Burning’.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Nbgg5uG9mj0/XtUofYBzbyI/AAAAAAAANpo/URoJDN4pjVQBX2xhd9AJry5wnHpGQKg-QCLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-Nbgg5uG9mj0/XtUofYBzbyI/AAAAAAAANpo/URoJDN4pjVQBX2xhd9AJry5wnHpGQKg-QCLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. Rory - 2:50<br />2. Forbidden Fruit - 3:00<br />3. One Sunday Morning - 3:30<br />4. I Love You So (<i>Paul Rodgers, Simon Kirke</i>) - 3:16<br />5. For Sailors - 4:22<br />6. Jamaica (<i>Traditional Arranged By Claire Hamill</i>) - 2:14<br />7. Under A Piece Of Glass - 3:11<br />8. You Dear (<i>Ian Anderson</i>) - 3:18<br />9. Maybe It Is - 4:00<br />10.In So Deep - 3:51<br />11.Celluloid Heroes (<i>Ray Davies</i>) - 5:00<br />All songs by <i>Claire Hamill</i> except where indicated<br /><br /><b>Personnel</b><br />*Claire Hamill - Guitar, Keyboards, Vocals<br />*Phil Palmer - Guitar<br />*Phil Chen - Bass<br />*Jon Hartman - Keyboards<br />*Gary Ray - Drums<br />*Mel Collins - Saxophone<br />*Vicki Brown - Background Vocals<br />*Doreen Chanter - Background Vocals<br />*Jean Roussel - Piano, Orchestral Arrangements<br />*Tom Robinson - Vocals<br />*Raphael Doyle - Vocals<br />*Hereward Kaye - Vocals<br /><br /><a href="https://therockasteria.blogspot.com/2016/09/claire-hamill-one-house-left-standing.html">1971&nbsp; Claire Hamill - One House Left Standing (2008 remaster with extra tracks)</a>&nbsp;<br /><a href="https://therockasteria.blogspot.com/2016/09/claire-hamill-october-1972-uk.html">1972&nbsp; Claire Hamill - October (2008 remaster)</a>&nbsp;<br /><br /><a href="https://controlc.com/009db47c">Free Text</a><br /><a href="https://freetexthost.net/vIeqJvf">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0tag:blogger.com,1999:blog-7380084716739328494.post-4309785281024694702020-05-30T11:15:00.000+03:002020-05-30T11:15:49.836+03:00Big Star - #1 Record / Radio City (1972/74 us impressive power pop indie rock, 2004 SACD)<div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Z35j-jltPZs/XtISAbLWQpI/AAAAAAAANpE/5_UAhJQlBGIZrk801TX7bVrrY31vSgXKgCLcBGAsYHQ/s1600/Front%2BCover%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="944" data-original-width="944" height="320" src="https://1.bp.blogspot.com/-Z35j-jltPZs/XtISAbLWQpI/AAAAAAAANpE/5_UAhJQlBGIZrk801TX7bVrrY31vSgXKgCLcBGAsYHQ/s320/Front%2BCover%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/svYc9EzQ3yw" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">In the past, if you wanted to buy either of Big Star’s #1 Record or Radio City on CD you had to buy them together. While previously available individually on vinyl, the pair of albums were glued together in a two-for-one compact disc. Truthfully, while getting both albums at once was gratifying (because, really, you need both, along with Third/Sister Lovers), and it was probably cheaper to get a two for one deal, the end of #1 Record segueing into Radio City was messy at best. Thankfully, both albums are now back in print individually (sans bonus tracks), and are sourced from the original analog master tapes. One has to wonder, though, if the real reason behind these reissues is not to get the albums back into the hands of fans on CD in the proper format, but rather as a shot at Sony Music, who last year issued the godawful compilation album Playlist: The Very Best of Big Star (1972 – 2005). See, the problem with that disc was two-fold. The first is that the first three Big Star albums are Greatest Hits albums. They’re that necessary. Secondly, Sony got around the thorny issue of not having the rights to the original recordings by loading up songs on the tracklist from 1993’s Columbia: Live at Missouri University, 4/25/93. Basically, you would have been better off just buying the live album, as all that’s missing from it is a handful of songs from the original albums that the Best of album culls from. The 2013 Greatest Hits disc is, thus, that inconsequential.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">While I cannot comment on the audiophile quality of these reissues for I was given access to a private stream, and we all know streams have their share of wow and flutter, the sound does manage to shine through. As do the songs themselves. Basically, if you don’t have either of these albums and have no idea of what I’m talking about, go. Just go, stop reading, and buy these records, especially if you want to see how this group essentially helped to invent the concept of ‘70s power pop, and would go on to influence countless bands from the Replacements, Teenage Fanclub, R.E.M. (whose Automatic for the People is essentially Third/Sister Lovers reimagined for the ‘90s) and, yes, Counting Crows, who have tucked a Big Star reference inside some live performances of their hit "Mr. Jones". As well, I’m not sure if it’s really worth giving more than a thumbnail sketch of the band’s history, because, chances are, if you’re reading this, you already know it and not much can be added or taken away from what you already know.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Still, here goes: Big Star was a group founded by Alex Chilton, formerly of the Box Tops, and also featured Chris Bell, drummer Jody Stephens and bassist Andy Hummel. (Stephens, incidentally, is the sole remaining original member still alive and kicking.) The group released #1 Record in 1972. The critics loved it, but, due to poor distribution problems with the record label, the album stiffed commercially, making the album title rather ironic (aside from the fact that it was, indeed, their number one record in order of release). Bell left the band and the remaining group, give or take a member or two depending on the song, went on to record 1974’s Radio City. The same result occurred: lavish critical praise, monumental commercial dud at the cash register.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Even if you haven’t heard of Big Star, you’ve heard Big Star. If you watched TV’s That ‘70s Show, well, the theme song is "In The Street" from #1 Record, only covered by Cheap Trick. For a band that sold a paltry number of records in its heyday, the cultural legacy of Big Star looms large. Without them, the Replacements wouldn’t have written their homage to "Alex Chilton". Without them, a large swath of alternative and indie rock would debatably cease to exist, or at least exist in some other unrecognizable format. Maybe indie kids today would have thought polka music was the hippest thing without Big Star. So this is a very monumental band, and, as I’ve said, if you don’t have these two albums, your record collection has a massive hole. You’re missing out on some of the finest music of the ‘70s, music that, in large part, remains timeless and even sounds much more relevant today than it did back then. That’s how ahead of the curve Big Star was.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">So what of the albums themselves then? While both are in Rolling Stone’s 500 "Greatest Albums of All Time" list, #1 Record has the highest highs and the lowest lows. Had "The India Song" been swapped out its place at the end of Side One in favour of "When My Baby’s Beside Me", you would have had an argument for rock’s greatest Side One in the history of all music. That side would include the magnificent "The Ballad of El Goodo", the aforementioned "In the Street", the bluesy swagger of "Don’t Lie to Me", and the transcendent, touching ballad of first love "Thirteen". Even though the album does boast its share of filler ("ST 100/6" anyone?), the peaks are so towering that mere words cannot convey the brilliance. Plus, the album sounds like a group having a blast in the recording studio, unaware of the commercial disappointment that awaited them around the corner. The harmonies and the songwriting have been oft compared to Lennon/McCartney, and for a good reason. This stuff is just as good, if not better, than that of their predecessors. While #1 Record is slightly flawed, you could say that too about any Beatles album, and we all know that Revolver has the top spot generally on All Time Greatest Records lists. There is no such thing as outright perfection.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">But then you have Radio City.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Radio City is outright perfection.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The album, which sees Bell get unofficially songwriting credit on just two songs ("O My Soul" and "Back of a Car"), is a sonic blast from start to finish. It’s rougher and bleaker than its predecessor, which presaged the harrowing decent into the tortured psyche of Third / Sister Lovers, but the songs themselves shine together with an overall consistency, even if there are gems within gems in the bunch. Do you remember the first time you heard the chiming riff to "September Gurls"? (And it had better not have been the Bangles’ absolutely atrocious butchering of the song.) Do you remember the first time you heard the sweet, affecting album closer "I’m In Love With a Girl"? Honestly, I bet you do. The album, and each song on it, is that memorable. I once made a mixed tape with the entirety of this record (and it was a record, I own a mint 1974 original pressing of the disc that set me back a pretty penny) on one side for a friend, who, upon listening to it, dubbed it "cottage rock". You know, the sort of thing you would have blasting at a keg party. That may sound like a reductive statement, but there’s a grain of truth to it. Radio City should be the summer album that everyone has, even if it is a little bit off-kilter and is the sound of a group trying to keep it together while falling apart. The songs are just stellar. Simple as that. Not a bad one in the bunch, not even the 87-second piano interlude “Morpha Too”.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">While Radio City is, hands down, the stronger of the two discs, it is stronger by only a smidge. You need #1 Record, too, just for the group’s shot at familiarity and pseudo-hit making. Both albums are what we critics would dub essential. And, while you’re at it, try and score a copy of Third / Sister Lovers, too, as that album completes the trilogy. Listening to this all over again, one has to wonder if there was a better band during the tumultuous ‘70s than Big Star. At a time when prog rock was all the rage, Big Star was stripping rock music down to its poppy elements, setting the stage for a generation of bands who would pick up the mantle and run with it during the next few decades. While Bell and Chilton (and Hummel) are no longer with us, their legacy more than lives on with what the label is calling the "definite" digital masters of these albums. And, sure, there are no bonus tracks or outtakes, but these records don’t need them. They are as perfect or as near perfect as records come, and I’m pretty sure that I haven’t heard, in my entire lifetime, a record that is as flawless as Radio City, an album I always play front to back without skipping over any tracks.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">So what on earth are you waiting for? Regardless if you have these records or not, you need them. Buy them again, if necessary. Trust me, the money will go to the enduring legacy of Big Star, and foster more bands that will head their path and blaze new trails in modern music. That’s not hyperbole, that’s just the plain truth. So go. Now. Get on your way to your nearest record store and pick these two stellar albums up before, you know, someone decides to pull them out of print as individual albums again.</div><div class="separator" style="clear: both;">by <b>Zachary Houle</b>, 02 Oct 2014</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-0wPUBGz3few/XtISDVrCZVI/AAAAAAAANpI/whyoVYdvACI_FUIEfmnj-Yr-VBIxaYiegCLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-0wPUBGz3few/XtISDVrCZVI/AAAAAAAANpI/whyoVYdvACI_FUIEfmnj-Yr-VBIxaYiegCLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br /><b><i>#1 Record 1972</i></b><br />1. Feel - 3:35<br />2. The Ballad Of El Goodo - 4:22<br />3. In The Street - 2:57<br />4. Thirteen (<i>Chris Bell, Alex Chilton, Mal Waldron</i>) - 2:37<br />5. Don't Lie To Me - 3:10<br />6. The India Song (<i>Andy Hummell</i>) - 2:22<br />7. When My Baby's Beside Me - 3:26<br />8. My Life Is Right (<i>Chris Bell, Thomas Dean Eubanks</i>) - 3:09<br />9. Give Me Another Chance - 3:29<br />10.Try Again - 3:34<br />11.Watch The Sunrise - 3:46<br />12.St 100/6 - 1:01<br /><b><i>Radio City 1974</i></b><br />13.O My Soul (<i>Alex Chilton</i>) - 5:40<br />14.Life Is White (<i>Alex Chilton, Andy Hummell</i>) - 3:20<br />15.Way Out West (<i>Andy Hummell</i>) - 2:52<br />16.What's Going Ahn (<i>Alex Chilton, Andy Hummell</i>) - 2:43<br />17.You Get What You Deserve - 3:10<br />18.Mod Lang (<i>Alex Chilton, Richard Rosebrough</i>) - 2:48<br />19.Back Of A Car (<i>Alex Chilton, Andy Hummell</i>) - 2:48<br />20.Daisy Glaze (<i>Alex Chilton, Andy Hummell, Jody Stephens</i>) - 3:51<br />21.She's A Mover (<i>Alex Chilton</i>) - 3:15<br />22.September Gurls (<i>Alex Chilton</i>) - 2:50<br />23.Morpha Too (<i>Alex Chilton</i>) - 1:30<br />24.I'm In Love With A Girl (<i>Alex Chilton</i>) - 1:47<br />All songs by <i>Chris Bell, Alex Chilton</i> axcept where stated<br /><br /><b>Big Star</b><br /><b><i>1972&nbsp; #1 Record</i></b><br />*Chris Bell - Guitar, Vocals<br />*Alex Chilton - Guitar, Vocals<br />*Andy Hummel - Bass<br />*Jody Stephens - Drums<br /><b><i>1974&nbsp; Radio City</i></b><br />*Alex Chilton - Guitar, Vocals<br />*Andy Hummel - Bass<br />*Jody Stephens - Drums<br /><b><i>Guests</i></b><br />*Chris Bell - Guitar, Vocals<br />*Danny Jones - Bass<br />*Richard Rosebrough - Drums<br /><br /><a href="https://therockasteria.blogspot.com/2016/07/big-star-keep-eye-on-sky-1968-75-us.html">1968-75&nbsp; Big Star - Keep An Eye On The Sky (2009 four discs box set)</a><br /><b><span style="color: blue;">Related Acts</span></b><br /><a href="https://rockasteria.blogspot.com/2015/07/the-box-tops-original-albums-1967-69-us.html">1967-69&nbsp; The Box Tops - The Original Albums (two disc set, 2015 issue)&nbsp;</a></div><a href="http://rockasteria.blogspot.gr/2011/10/box-tops-best-of-box-tops-1967-70-us_03.html">1967-70 &nbsp;The Box Tops - The Best Of Box Tops</a><br /><a href="http://rockasteria.blogspot.gr/2012/05/alex-chilton-free-again-1970-sessions.html">1970 &nbsp;Alex Chilton - Free Again: The 1970 Sessions (2012 release)</a><br /><a href="http://rockasteria.blogspot.gr/2012/05/alex-chilton-feudalist-tarts-1985-us.html">1985 &nbsp;Alex Chilton – Feudalist Tarts (Vinyl edition)</a><br /><a href="https://rockasteria.blogspot.com/2013/12/chris-bell-im-cosmos-1972-76-us.html">1972-76&nbsp; Chris Bell - I'm The Cosmos (two disc set)</a>&nbsp;<br /><a href="http://rockasteria.blogspot.com/2013/04/terry-manning-home-sweet-home-1970-us.html">1970&nbsp; Terry Manning - Home Sweet Home (2006 Sunbeam)</a><br /><br /><a href="https://controlc.com/d3afd792">Free Text</a><br /><a href="https://freetexthost.net/qaKchzZ">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com1tag:blogger.com,1999:blog-7380084716739328494.post-20311454592989330352020-05-28T07:59:00.000+03:002020-05-28T07:59:04.285+03:00Michael d'Abo - Broken Rainbows (1974 uk, wonderful folk soft rock, 2001 japan remaster)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-JqfKyDtbpw0/Xs6c5x5QyZI/AAAAAAAANos/ccexTk9gZXQqtQ263pgq8vk4wM0SvQzIQCLcBGAsYHQ/s1600/Front%2BCover%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://1.bp.blogspot.com/-JqfKyDtbpw0/Xs6c5x5QyZI/AAAAAAAANos/ccexTk9gZXQqtQ263pgq8vk4wM0SvQzIQCLcBGAsYHQ/s320/Front%2BCover%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/veMM29SG9Kc" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">After leaving Manfred Mann, Mike d'Abo had been offered a contract with Immediate Records for which he made one single and one album, both entitled "Gulliver's Travels". Then he switched to MCA Records and his first album was issued in mid 1970, simply titled "d'Abo". His next project found himself scoring for the Peter Sellers/Goldie Hawn movie "There's A Girl In My Soup", and from this came the single "Miss Me In The Morning/Annabella Cinderella" in December 1970.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">1971 saw the release of the "Jesus Christ Superstar" album on MCA, on which Mike d'Abo sang the part of Herod. In June 1971 he signed with Chrysalis Records, though nothing of his recorded work for this company was released. Anyway, by the end of the year he changed companies once again, this time to the American A &amp; M Records. The best period of his solo career was just about to begin. His debut album was "Down At Rachel's Place" followed by the single "Belinda/Little Miss Understood". Nothing more was heard from Mike for more than a year, then he re-appeared as composer of five songs on the debut album of John Christie "Relax".</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Halfway through 1974, another single emerged: "Fuel To Burn/Hold On Sweet Darling" which served as an introduction to his solo album "Broken Rainbows". It received very favourable reviews, though like his earlier solo outings, it was not successful on the charts.&nbsp; "Handbags And Gladrags" on this album is not exactly the same song as on the "d'Abo" album on Uni UNLS 114, the album was produced by Elliot Mazer, however, even though Mike d'Abo didn't have any chart success, he could persuade many well known musicians to play on his albums. Artists like Albert Lee, Chris Spedding, Mo Foster, John Kongos, Graham Nash, Mike Bloomfield, and The Jordanaires are well known to all of us.</div><div class="separator" style="clear: both;"><b><i><a href="https://www.mikedabo.com/mikedabo.htm">Mike d' Abo</a></i></b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-8dhCUq4PJi8/Xs6c8Qp_UHI/AAAAAAAANow/dpTeqWLG2MomziDfN8MLDJqgiYJN856DgCLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-8dhCUq4PJi8/Xs6c8Qp_UHI/AAAAAAAANow/dpTeqWLG2MomziDfN8MLDJqgiYJN856DgCLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. Fuel To Burn - 2:54<br />2. This Is Me - 1:21<br />3. Broken Rainbows - 3:37<br />4. The Last Match - 3:13<br />5. I Go Where My Spirit Leads Me - 3:12<br />6. Handbags And Gladrags - 4:59<br />7. Sitting On A Wood Floor - 3:47<br />8. Papa Didn't Tell Me - 3:39<br />9. My Load - 1:50<br />10.Hold On Sweet Darling - 3:05<br />All compositions by <i>Michael d'Abo</i><br /><br /><b>Musicians</b><br />*Mike d'Abo - Piano, Electric Piano, Clarinet, Tambourine, Vocals<br />*Teddy Irwir - Rhythm Guitar, Electric Guitar<br />*Rab Noakes - Rhythm Guitar<br />*Graham Nash - Rhythm Guitar, Harmonica<br />*Bobby Thompson - Banjo<br />*Gary Taylor - Bass Guitar<br />*Elliot Mazer - Bass Guitar, Cowbell<br />*Denny Seiwell - Drums<br />*Ben Keith - Pedal Steel Guitar<br />*Mark Naftalin - Organ<br />*Ben Keith - Dobro<br />*The Jordanaires - Backing Vocals<br />*Mike Bloomfield - Electric Guitar<br /><br /><a href="https://controlc.com/b9a7d4be">Free Text</a><br /><a href="https://freetexthost.net/pezokGH">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0tag:blogger.com,1999:blog-7380084716739328494.post-60994319710096800942020-05-26T12:09:00.000+03:002020-05-26T12:09:00.899+03:00Negative Space - Hard Heavy Mean And Evil (1970 us, primitive distorted underground fuzzed basement psych rock, 2009 remaster)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-cbdQ7OMv8dc/XswF9OqGHSI/AAAAAAAANoY/N8vantxPxNMsV5YNfHcBJYq5g9Ezt4gSACLcBGAsYHQ/s1600/Front%2BCover%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="994" height="320" src="https://1.bp.blogspot.com/-cbdQ7OMv8dc/XswF9OqGHSI/AAAAAAAANoY/N8vantxPxNMsV5YNfHcBJYq5g9Ezt4gSACLcBGAsYHQ/s320/Front%2BCover%2Bcopy.jpg" width="318" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/LF7EbOPaL7M" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">Negative Space were an underground psych/rock band from East Camden, New Jersey, formed in 1969. They released one privately-pressed album ‘Hard, Heavy, Mean and Evil’ in 1970. Only 500 copies were originally issued and now command large sums of money on the collectors market.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Inspired by the likes of Blue Cheer and Nazz - their sound has been described as “crudely-recorded distorted rock in its purest form” and “dark heavy fuzzed basement psych".</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">In the late '60s Rob Russen, with his cherry red Gibson SG, Baldwin Exterminator amplifier and fuzztone was an established fixture in the East Coast music scene having performed in bands such as Soul Providers, The Ellingtons, The Banished and The Turfers.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Russen recruited musicians Jimmy Moy (guitar/vocals), Bob Rittner (bass) and Lou Nunziata (drums) to form the original line-up of Negative Space. Over a three year period, with minor variations, the group continued to perform, record and evolve into Russen’s subsequent band - Snow.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Negative Space issued their music on Castle Records, a small independent label formed by Russen in 1965 and only 500 copies of the original ‘Hard, Heavy, Mean &amp; Evil’ album were released.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><b>Rob Russen</b> said..</div><div class="separator" style="clear: both;">Some of the bands I joined before forming the Negative Space, were The Soul Providers, The Ellingtons, The Banished, The Turfers. My father and his best friend had formed a record label (Castle Records) to support my music career and help other local artists. Among those groups were Great Pride, Dirty Martha, Plynth, the Cellar Wall, and r&amp;b vocal groups The Millionaires, The Ebonies and the Omystics.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">This “Mean” and “Evil” and, at that same time, radio stations were calling the new music they were playing “Heavy Metal” . .The band had a reputation for coming out hard and heavy with strong initial impact. So I combined those into “Hard, Heavy, Mean &amp; Evil”. Many of the songs on the album reflect the turmoil of my personal life at that time. Much of it was fantasy because I felt I was trapped so I wrote about imaginary relief. For example “Forbidden Fruit” was a song about having an affair with one of my wife’s sisters who was a very creative girl who originally told me about the artistic concept that is “Negative Space” and I adopted the name for the band at that time.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The album was released in May of 1970 and we gigged hot and heavy that summer to promote it. Jim Moy had gotten married and his wife wanted him to settle down and not travel as much. Last year I met with Jim here in Florida for lunch one day and asked him “How did we end up in the band together?” He told me that we had gone to the same high school together. I was a senior when he was a sophomore so we didn’t have any contact during that time. But I was an outstanding athlete in school and had a reputation for that plus playing in bands. He said that one day he heard that I was looking for a percussionist to join my band and it was like a dream of his to play in a band with the ‘famous” Rob Russen. I couldn’t help but laugh at his story because I didn’t remember it at all. Jim was replaced with a guy named Gordon and then Bob Rittner left because he had a day job and they decided they didn’t want him taking off time to play music as much as he had been doing. He was replaced by a blonde female named Barbara who was excellent. After a few months of gigging with the new lineup I decided to change the name of the group to Snow and we recorded “Johnny B Good” b/w “Sunflower”. The material that was recorded for Hard, Heavy, Mean &amp; Evil that was not used on the album was later included on the two CDs released by Monster Records.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-GTTMTXszey0/XswGAKlqQ9I/AAAAAAAANoc/G_oMF3hDaLEMRbIZr4qmhe4-qugKnVCuQCLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-GTTMTXszey0/XswGAKlqQ9I/AAAAAAAANoc/G_oMF3hDaLEMRbIZr4qmhe4-qugKnVCuQCLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. Isolated Ivory Tower - 3:56<br />2. Summertime (<i>George Gershwin, DuBose Heyward, Ira Gershwin</i>) - 6:29<br />3. Hey Wall - 4:36<br />4. The Long Hair - 5:14<br />5. Calm Before The Storm - 6:34<br />6. You're All I Need - 4:14<br />7. Living Dead - 3:40<br />8. Forbidden Fruit - 4:32<span style="white-space: pre;"> </span><br />9. Sunflower - 3:59<br />10.Johnny B. Goode (<i>Chuck Berry</i>) - 3:11<br />11.Light My Fire (<i>Jim Morrison, Robby Krieger, John Densmore, Ray Manzarek</i>) - 4:20<br />12.Purple Haze (<i>Jimi Hendrix</i>) - 2:57<br />13.The Pusher (<i>Hoyt Axton</i>) - 4:34<br />14.Snow's Angels - 3:02<br />15.Too Little Too Late - 2:37<br />16.Hour Of Quiet Rain - 4:17<br />17.Too Few Drums - 3:06<br />18.Father &amp; Son - 4:02<br />All songs by <i>Rob Russen</i> except where indicated<br />Bonus Tracks 9-18<br /><br /><b>Negative Space</b><br />*Rob Russen - Guitar, Producer, Vocals<br />*Jimmy Moy - Guitar, Percussion, Piano, Recorder, Vocals<br />*Bob Rittner - Bass, Vocals<br />*Lou Nunziata - Drums<br /><b><i>Additional Musicians</i></b><br />*Pat Bailey - Bass<br />*Gordon Cohen - Vocals<br />*Ron Gauntt - Rhythm Guitar<br />*Bill Messerschmidt - Guitar<br /><br /><a href="https://controlc.com/fa37b13e">Free Text</a><br /><a href="https://freetexthost.net/knSiqaD">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0tag:blogger.com,1999:blog-7380084716739328494.post-78800740552090844802020-05-25T17:22:00.002+03:002020-05-25T17:22:37.698+03:00Mutzie - Light Of Your Shadow (1970 us, raw heavy blues brass rock, 2007 remaster)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Xzdv3-O1gs0/XsvT9iO0npI/AAAAAAAANoE/pB0aPphU2D03kmKvVzAUYkBt9PKdcwB-ACLcBGAsYHQ/s1600/Front%2BCover%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="911" data-original-width="1000" height="291" src="https://1.bp.blogspot.com/-Xzdv3-O1gs0/XsvT9iO0npI/AAAAAAAANoE/pB0aPphU2D03kmKvVzAUYkBt9PKdcwB-ACLcBGAsYHQ/s320/Front%2BCover%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/aWgf8cOFkD0" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">Spawned by the same scene that produced The Stooges, MC5 and Bob Seger, this Detroit quartet made only one record, which originally appeared in August 1970. A heady brew of hard rock, blues, jazz and funk, it sold poorly, meaning that the band (who shared stages with the Allman Brothers, Johnny Winter, Alice Cooper, and many other leading acts of the era) splintered soon afterwards, leaving behind just one lost gem.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-SDTshBwIWXs/XsvUAMo-67I/AAAAAAAANoI/qE6CpK8KFfg4Aw0V78j4yqlXJXHWXyTUACLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-SDTshBwIWXs/XsvUAMo-67I/AAAAAAAANoI/qE6CpK8KFfg4Aw0V78j4yqlXJXHWXyTUACLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. Highway (<i>E. "Mutzie" Levenburg, Barry Levenburg</i>) - 5:55<br />2. The Light Of Your Shadow In Two Movements (<i>E. "Mutzie" Levenburg, Mike Theodore, Gary Harvey</i>) - 9:56<br />.a.The Inception (Incl. The Transition) <span style="white-space: pre;"> </span><br />.b.The Consummation (Incl. The Judgement) <span style="white-space: pre;"> </span><br />3. Cocaine Blues&nbsp; (<i>E. "Mutzie" Levenburg</i>) - 4:32<br />4. Jessie Fly&nbsp; (<i>E. "Mutzie" Levenburg, Mike Theodore</i>) - 4:49<br />5. Because Of You&nbsp; (<i>E. "Mutzie" Levenburg</i>) - 2:39<br />6. The Game (<i>E. "Mutzie" Levenburg, Mike Theodore, Gary Harvey</i>) - 2:49<br />7. Daily Cycle (<i>E. "Mutzie" Levenburg, Barry Levenburg</i>) - 3:18<br /><br /><b>Mutzie</b><br />*E. "Mutzie" Levenburg - Guitar, Vocals<br />*Fred Boldt - Bass Clarinet, Baritone, Bass Saxophones<br />*Robert Cowart - Flute, Oboe, Tenor Sax<br />*Chuck Feger - Flute, Tenor Sax<br />*Dave Kovarick - Tenor Sax<br />*Andee Levenburg - Organ<br />*Barry Levenburg - Bass<br />*Nick Palise - Flute, Alto, Soprano Saxophones<br />*Marc White - Drums<br /><br /><a href="https://controlc.com/5ccc0aba">Free Text&nbsp;</a><br /><a href="https://freetexthost.net/WJHINYL">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0tag:blogger.com,1999:blog-7380084716739328494.post-31155368679941629322020-05-24T12:57:00.000+03:002020-05-24T12:57:23.996+03:00Bent Wind - Sussex (1969 canada, rough heavy fuzzed psych rock, bonus tracks 2001 digipak remaster)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-touuU_A3fxk/XspEIGfVzjI/AAAAAAAANns/E1IpjPYbycc8m5Bk0sT6C_nDymQ4EVZhgCLcBGAsYHQ/s1600/Front%2BCover%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="911" data-original-width="1000" height="291" src="https://1.bp.blogspot.com/-touuU_A3fxk/XspEIGfVzjI/AAAAAAAANns/E1IpjPYbycc8m5Bk0sT6C_nDymQ4EVZhgCLcBGAsYHQ/s320/Front%2BCover%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/6pxSfAVgtgM" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">Phenomenally rare, with those surviving copies fetching upwards of 3000 bucks a pop, the 1969 acid rock raver Sussex had its origins in a drug-addled house in Toronto's Annex neighbourhood. As guitarist Marty Roth "recalls" on his blog, "Myself and another friend from schooldays were running a boutique/headshop at the corner of Sussex and Robert. And, every so often...I'd hear a faint blur of something, close to what some might consider music. It was emanating from the basement of one of the houses beside the lane at 57 Sussex Avenue, almost a block away.&nbsp;</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">As it turned out, the guitarist was Gerry Gibas, a close friend who I'd been jamming with while writing original tunes any chance we could. He dropped by the shop during their break and told me to drop over. That's where I met Eddie Thomas Majchrowski, the drummer. His mother owned the house at 57 Sussex Avenue and all the rooms on all three floors were rented out to a mix of students, freaks, druggies and musicians. To my surprise, the bass player was Sebastian Pelaia, a classmate from high school, two years earlier."</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">With the nucleus of Bent Wind now in place, the lads consumed copious amounts of acid, hawked psychedelic candles at the infamous hippie residence Rochdale College, gigged around the corner at several U of T frat parties, and somehow managed to record these eight stoner nuggets. Roth: "Until we finally made it to recording an LP, all of our songs were without real words. We would use a sort of skat gibberish that sounded similar to words but were muffled by the way we used the microphone and echo effects. Nobody cared." With the rock world in flux - Led Zeppelin had already played sold-out shows at the Rockpile venue in February and August of 1969 - the plodding, freeform guitar workouts and soaring harmonies on Sussex would have been standard-issue cool at the time, bridging the Woodstock nation with the brave new heavy-metal world to come. But the band was essentially broke (Roth: "You have to remember, we were "hippies". We didn't have or need any money."), so it is little wonder that even the well-crafted songs sound somewhat amateurish.&nbsp;</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The heavier tracks like 'Mystify', 'Riverside' and 'Hate' come off better here, cutting through with muscular chords and airy vocals, whereas the flowery ballad 'Look at Love', though well-intended, seems to lug its psychedelic baggage a little too awkwardly. Still, in a Toronto awash in hippies and draft-dodgers, with a little spit and polish - not to mention some financial backing - Sussex could have been a contender.&nbsp;</div><div class="separator" style="clear: both;">by <b>Michael Panontin</b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-t3kiMpj6AZs/XspELQfERzI/AAAAAAAANnw/xtyUR9jQYCU-a5jEnkh9PR139KvdCs3cgCLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-t3kiMpj6AZs/XspELQfERzI/AAAAAAAANnw/xtyUR9jQYCU-a5jEnkh9PR139KvdCs3cgCLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. Touch Of Red (<i>Marty Roth</i>) - 3:14<br />2. Riverside (<i>Jerry Gibas, Marty Roth</i>) - 6:13<br />3. The Lions (<i>Jerry Gibas, Marty Roth</i>) - 5:29<br />4. Going To The City (<i>Jerry Gibas</i>) - 2:52<br />5. Hate (<i>Marty Roth</i>) - 5:23<br />6. Look At Love (<i>Jerry Gibas</i>) - 4:02<br />7. Mystify (<i>Jerry Gibas</i>) - 3:38<br />8. Sacred Cows (<i>Jerry Gibas</i>) - 4:10<br />9. Riverside (<i>Jerry Gibas, Marty Roth</i>) - 6:20<br />10.Bent Wind - 4:01<br />11.The Chant - 3:45<br />12.Castles Made Of Man (<i>Marty Roth</i>) - 3:26<br />13.Sacred Cows (<i>Jerry Gibas</i>) - 2:23<br />Tracks 1-8 Original Album<span style="white-space: pre;"> </span><br />Tracks 9-11 Unreleased<br />Tracks 12-13 Rare Single<br /><br /><b>Bent Wind</b><br />*Jerry Gibas - Lead Guitar, Vocals<br />*Eddie Thomas -&nbsp; Drums&nbsp; &nbsp;<br />*Sebastian Pelaia - Bass Guitar<br />*Marty Roth - Rhythm Guitar, Vocals<br /><b><i>Tracks 9-11</i></b><br />*Marty Roth - Rhythm Guitar, Vocals<br />*Michael George Jones - Lead Guitar<br />*Bill Miller - Bass<br />*John Butt - Drums<br /><br /><a href="https://controlc.com/0ec742cc">Free Text</a><br /><a href="https://freetexthost.net/fKlosMC">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0tag:blogger.com,1999:blog-7380084716739328494.post-40382953596899499252020-05-23T17:41:00.001+03:002020-05-23T17:41:08.005+03:00Blood Sweat And Tears - 3 (1970, us / canada, magnificent jazz brass rock, 2016 SACD)<div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-07zEprA_f8E/XskhNFnADQI/AAAAAAAANnY/SNBQk2iLFCUY3T90lSCEvswA_0QNP-q9ACLcBGAsYHQ/s1600/Front%2BCover%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="992" data-original-width="1000" height="317" src="https://1.bp.blogspot.com/-07zEprA_f8E/XskhNFnADQI/AAAAAAAANnY/SNBQk2iLFCUY3T90lSCEvswA_0QNP-q9ACLcBGAsYHQ/s320/Front%2BCover%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/0JbJFq-5ieQ" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">At a distance of more than 40 years, we forget how big Blood Sweat and Tears was at the turn of the 1970s. Their second, self-titled album spent time at #1 in the spring and summer of 1969 and contained three classic singles: “You’ve Made Me So Very Happy,” “Spinning Wheel,” and “And When I Die.” They appeared at Woodstock and were frequently on TV. But their fame was short-lived, and it ultimately became a casualty of the times in which they lived.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Lead singer David Clayton-Thomas came aboard after the band’s first album, and his big, ballsy voice was the star of the second one. He was Canadian, so it was suggested to the band that a State Department-sponsored goodwill tour of Eastern Europe might be looked upon favorably the next time Clayton-Thomas tried to get a green card. But in the politically charged atmosphere of early 1970, the tour was perceived as buddying up with the Nixon regime. So, upon their arrival home from the tour (which ended up fairly unpleasant for the band), they were forced to fend off critics, both of their politics and of their music itself as their third album was released.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">There are some interesting musical choices on Blood Sweat and Tears 3, although how well they work depends on your taste. BS&amp;T covers James Taylor’s “Fire and Rain,” Traffic’s “Forty Thousand Headmen,” “Lonesome Suzie” by the Band, and even “Sympathy for the Devil,” which is incorporated into one of those multi-part suites every band was doing in 1970. Band member Steve Katz called the latter “ridiculous,” and said the reason the album sounded like it did was that the band had stopped having fun. Nevertheless, Blood Sweat &amp; Tears 3 made it to #1 for the weeks of August 8 and August 15, 1970, despite some unkind reviews. “Hi-De-Ho” and “Lucretia MacEvil” both made the top 40.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">By the end of 1971, the band would become a revolving door, and today, literally dozens of musicians can claim to be alumni of Blood Sweat and Tears. But all that was in the future when the band performed “Lucretia MacEvil” at the 1971 Big Sur Folk Festival, with Clayton-Thomas sounding great and the band’s jazz influences on display.</div><div class="separator" style="clear: both;">by <b>J.A. Bartlett</b>, January 24, 2013</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-xQUDzNFlHlU/XskhPw0SMYI/AAAAAAAANnc/JEyxprlRedQI5awV0oa1TE35WnfhsDCLQCLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-xQUDzNFlHlU/XskhPw0SMYI/AAAAAAAANnc/JEyxprlRedQI5awV0oa1TE35WnfhsDCLQCLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. Hi-De-Ho (<i>Gerry Goffin, Carole King</i>) – 4:27<br />2. The Battle (<i>Dick Halligan, Steve Katz</i>) – 2:41<br />3. Lucretia MacEvil (<i>David Clayton-Thomas</i>) – 3:04<br />4. Lucretia's Reprise (<i>Blood, Sweat And Tears</i>) – 2:35<br />5. Fire and Rain (<i>James Taylor</i>) – 4:03<br />6. Lonesome Suzie (Richard Manuel) – 4:36<br />7. Symphony for the Devil/Sympathy for the Devil (<i>Dick Halligan, Mick Jagger, Keith Richards</i>) – 7:49<br />8. He's a Runner (<i>Laura Nyro</i>) – 4:14<br />9. Somethin' Comin' On (<i>Joe Cocker, Chris Stainton</i>) – 4:33<br />10.40,000 Headmen (<i>Steve Winwood</i>) – 4:44<br /><br /><b>Blood Sweat And Tears</b><br />*David Clayton-Thomas - Vocals<br />*Bobby Colomby - Drums, percussion<br />*Jim Fielder -&nbsp; Bass<br />*Dick Halligan - Keyboards, Flute, Trombone<br />*Jerry Hyman - Trombone<br />*Steve Katz - Guitars, Vocals<br />*Fred Lipsius - Sax, Piano<br />*Lew Soloff - Trumpet, Fleugelhorn<br />*Chuck Winfield - Trumpet, Fleugelhorn<br /><br /><b><span style="color: blue;">The Blood Sweat And Tears</span></b></div><a href="http://rockasteria.blogspot.com/2010/11/blood-sweat-and-tears-child-is-father.html">1968 &nbsp;Child Is Father To The Man (2014 Audio Fidelity and 2016 SACD)</a><br /><a href="https://therockasteria.blogspot.com/2016/05/blood-sweat-and-tears-blood-sweat-and.html">1969&nbsp; Blood Sweat And Tears (2014 audio fidelity and 2016 SACD)</a><br /><a href="https://freetexthost.net/HCnJRkX">1969&nbsp;&nbsp;Live At Woodstock (2019 Legacy)</a><br /><a href="https://rockasteria.blogspot.com/2014/01/blood-sweat-and-tears-4-1971-us-amazing.html">1971&nbsp; Blood Sweat and Tears - 4 (2016 SACD)</a><br /><a href="http://rockasteria.blogspot.gr/2014/01/blood-sweat-and-tears-new-blood-1972-us.html">1972 &nbsp;New Blood (2009 edition)</a><br /><a href="http://rockasteria.blogspot.com/2011/05/blood-sweat-and-tears-no-sweat-1973-us.html">1973 &nbsp;No Sweat (2005 issue)</a><br /><a href="http://rockasteria.blogspot.com/2011/06/blood-sweat-and-tears-mirror-image-1974.html">1974 &nbsp;Mirror Image (2005 issue)</a><br /><a href="http://rockasteria.blogspot.com/2011/08/blood-sweat-tears-new-city-1975-us.html">1975 &nbsp;New City (Bonus Tracks)</a><br /><a href="http://rockasteria.blogspot.gr/2012/05/blood-sweat-and-tears-more-than-ever.html">1976 &nbsp;More Than Ever (Bonus Tracks)</a><br /><a href="http://therockasteria.blogspot.gr/2014/03/blood-sweat-and-tears-complete-singles.html">1968-76 &nbsp;The Complete Singles (2014 two disc set)</a><br /><b><span style="color: blue;">Related Act</span></b><br /><a href="http://therockasteria.blogspot.gr/2013/12/david-clayton-thomas-david-clayton.html">1972 &nbsp;David Clayton Thomas</a><br /><br /><a href="https://controlc.com/953fbff0">Free Text&nbsp;</a><br /><a href="https://freetexthost.net/CunLAbo">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0tag:blogger.com,1999:blog-7380084716739328494.post-13978099748966647102020-05-21T13:58:00.000+03:002020-05-21T13:58:13.995+03:00Love - Live In England (1970 us, stunning live recording, part 3 of 2007 three discs digipak remaster)<div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-rsZDI1H_9MM/XsZdwMUwc1I/AAAAAAAANm4/rHvjhvwGoq4zo8u08xWubQLp_SaLOOEYwCLcBGAsYHQ/s1600/Front%2BCover%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://1.bp.blogspot.com/-rsZDI1H_9MM/XsZdwMUwc1I/AAAAAAAANm4/rHvjhvwGoq4zo8u08xWubQLp_SaLOOEYwCLcBGAsYHQ/s320/Front%2BCover%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/nmTkBB5yxr0" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">Love’s 13-city sweep through England, where the group was held in high esteem, would garner recordings compiled for the third disc of this set, Live In England 1970. The foursome lift off with “Good Times” and “August,” a pair of hard-hitting rockers from the final Elektra album, Four Sails. There’s a bit of “My Little Red Book” for nostalgia purposes before the group traipses the mushroom patch for “Nothing,” then leaping about during “Orange Skies” and “Andmoreagain.” The Love fest continues as “Gather “Round” and the classic “Bummer In The Summer” from Forever Changes jockey for position. The playing and interaction is tight and alive throughout, surging forth during the finale of “Signed D.C.” and “Love Is More Than Words Or Better Late Than Never” — a double force as powerful and authoritative as other high-ranking hard rocking tomes of the day.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">But for Love, it wasn’t meant to last. At least in the 70s. Lee would reappear from time to time, reliving the past without realizing the future. After his release from prison in 2001, he spent the next five years reasserting his genius via a series of Forever Changes concerts and small venue tours. Although no new music has yet to surface, Lee’s legacy remains etched in stone with the L.A. music scene of the 60s.&nbsp;</div><div class="separator" style="clear: both;">by <b>Shawn Perry</b></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">After the masterwork Forever Changes (1968) failed to make a sizable impression on North American audiences, Love mainstay Arthur Lee (lead vocals/guitar) disbanded the lineup that had also featured John Echols (guitar), Bryan Maclean (guitar/vocals), Ken Forssi (bass), and Michael Stuart (percussion). He then regrouped along with Gary Rowles (lead guitar), Frank Fayad (bass), and George Suranovich (drums). It took nearly a year of woodshedding tunes before Love was miraculously resurrected. This single disc captures the latter incarnation during their first foray across the Atlantic while on the road promoting Out Here (1970).</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The contents were gleaned from shows at the Waltham Forest Technical College (February 27), the Roundhouse in London (February 28) and at Lanchester Polytechnic in Coventry (March 5). All the material on the nearly hour-long disc is previously unreleased, although the Waltham Forest gig would turn out to be the source for "Stand Out" on the False Start (1970) album. The 11 songs span Love's five studio LPs. "Signed D.C." gets two nods for having been a key component of their 1966 eponymously titled collection and then a bluesy overhaul from the aforementioned Out Here.&nbsp;</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The remarkably high octane "My Little Red Book" -- which is announced as "My Little Red Crook" -- maintains much of the manic energy of the original. Lee is painfully off-key throughout "Orange Skies" -- the sole Da Capo (1967) era offering. The band make up for it with a tight arrangement that substantially serves the performance.&nbsp;</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Equally well-received are the Forever Changes (1968) sides "Andmoreagain," as well as Gary Rowles' wah wah fest with the nifty and funky take on "Bummer in the Summer" -- both of which are undeniable highlights here. Understandably, the recent material is likewise plentiful with the driving rockers "August," "Nothing," and the extended jamming on "Singing Cowboy" being prime examples from Four Sail (1969) of the heavier sound Lee was obviously aiming for. Nowhere is that as evident than on the practically seven-minute proto-metal workout given to "Signed D. C." Love smolders to an energetic conclusion with one last Out There entry, "Love Is More Than Words or Better Late Than Never." Judging by the ferocity and inspiration unleashed by Rowles, Fayad, and Suranovich they could give any power trio of the day a run for their money.&nbsp;</div><div class="separator" style="clear: both;">by <b>Lindsay Planer</b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-aoVbF1sVnMc/XsZdzOeH60I/AAAAAAAANm8/_aKIoqaO_UQc_tTO5rJDOt0uCnVM5EtmACLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-aoVbF1sVnMc/XsZdzOeH60I/AAAAAAAANm8/_aKIoqaO_UQc_tTO5rJDOt0uCnVM5EtmACLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. Good Times - 3:50<br />2. August - 5:17<br />3. My Little Red Book (<i>Burt Bacharach, Hal David</i>) - 2:52<br />4. Nothing - 4:38<br />5. Orange Skies (<i>Bryan MacLean</i>) - 3:59<br />6. Andmoreagain - 4:00<br />7. Gather 'Round - 7:00<br />8. Bummer In The Summer - 3:26<br />9. Singing Cowboy (<i>Jay Donnellan, Arthur Lee</i>) - 8:14<br />10.Signed D.C. - 6:43<br />11.Love Is More Than Words Or Better Late Than Never - 6:31<br />All songs by <i>Arthur Lee</i> excpet where indicated<br /><br /><b>Love</b><br />*Arthur Lee - Lead Vocals, Rhythm Guitar, Piano<br />*Gary Rowles - Lead Guitar<br />*Frank Fayad - Bass<br />*George Suranovich - Drums<br /><br /></div><a href="http://therockasteria.blogspot.gr/2013/06/love-love-1966-us-amazing-garage-acid.html">1966 &nbsp;Love - Love (remaster and expanded)</a> <br /><a href="http://therockasteria.blogspot.gr/2013/07/love-da-capo-1967-us-psychedelic-rock.html">1967 &nbsp;Love - Da Capo (remaster and expanded)</a><br /><a href="https://therockasteria.blogspot.com/2020/05/love-forever-changes-1967-us.html">1967&nbsp; Love - Forever Changes (2018 four discs 50th anniversary edition)</a><br /><a href="https://therockasteria.blogspot.com/2020/05/love-four-sail-1969-us-eminent-acid.html">1969&nbsp; Love - Four Sail (2002 remaster and expanded)</a><br /><a href="https://therockasteria.blogspot.com/2020/05/love-out-here-1969-us-suberb-acid-psych.html">1969&nbsp; Love - Out Here (2008 remaster)</a><br /><a href="https://therockasteria.blogspot.com/2020/05/love-false-start-1970-us-excellent-acid.html">1970 Love - False Start (2008 remaster)</a><br /><a href="http://therockasteria.blogspot.gr/2014/04/love-lost-love-1971-us-outstanding-hard.html">1971 &nbsp;Love - Lost Love (2009 Sundazed release)</a><br /><a href="https://therockasteria.blogspot.com/2017/01/arthur-lee-with-band-aid-vindicator.html">1972&nbsp; Arthur Lee With Band Aid - Vindicator (2008 expanded)</a><br /><a href="https://therockasteria.blogspot.com/2017/01/love-black-beauty-1973-us-exciting.html">1973&nbsp; Love - Black Beauty (2013 bonus tracks)</a><br /><a href="http://therockasteria.blogspot.gr/2015/12/love-reel-to-real-1974-us-spectacular.html">1974 &nbsp;Love - Reel to Real (2015 deluxe sdition) &nbsp;</a><br /><a href="http://rockasteria.blogspot.gr/2014/01/arthur-lee-and-love-five-string.html">1992 &nbsp;Arthur Lee And Love ‎– Five String Serenade</a> <br /><br /><a href="https://controlc.com/19fec73e">Free Text</a><br /><a href="https://freetexthost.net/KFlWvfx">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com2tag:blogger.com,1999:blog-7380084716739328494.post-20250938262144008942020-05-20T08:20:00.000+03:002020-05-20T08:20:06.445+03:00The Velvet Underground - Squeeze (1973 us, pleasant classic rock with glam shades, 2012 release)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-oGOL_IaBtoo/XsQVi6OXuAI/AAAAAAAANmk/-OFa813Roq0czXL1FY-6cIiZQuesnx38QCLcBGAsYHQ/s1600/Front%2BCover%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="996" height="320" src="https://1.bp.blogspot.com/-oGOL_IaBtoo/XsQVi6OXuAI/AAAAAAAANmk/-OFa813Roq0czXL1FY-6cIiZQuesnx38QCLcBGAsYHQ/s320/Front%2BCover%2Bcopy.jpg" width="318" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/YY_g6FT794o" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">Doug Yule played with the Velvets from 1968 until the band dissolved in the early seventies. Yet he was rarely, if ever, mentioned during the media blitz that surrounded the Velvet's resurgence. Despite the fact that Yule was a contributing member of the band on two of their studio albums, two live albums, toured with them from 1968 through 1972 and accompanied Lou Reed on a solo tour in 1975, he is apparently not considered significant enough in The Velvet Underground history to warrant the mention of him in the chronicles of the band.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">In 1968, the Age of Aquarius was sweeping America, and Doug Yule was drafted to join the Velvet Underground. Although their own brand of avant-garde, experimental rhythm and blues was not really part of the "peace &amp; love" scene, they were a part of the growing influence music had on pop culture. This was due in part to their affiliation with Andy Warhol and also through the musically distinct contributions of viola player and founding member John Cale.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">In their dealings with Warhol, the darling of the New York pop art scene, the VU found support and appreciation for their music, which Warhol eventually showcased simultaneously with film, light and dance, creating one of the most bizarre and unique artistic "tours" ever offered, The Exploding Plastic Inevitable.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Cale was a child prodigy, a classically trained musical talent, who, with his electric viola, further added to the groundbreaking experimental sound that the Velvets were pioneering in the mid 60's. With the sudden and rather bitter departure of Cale, the Velvet Underground lost some of the cutting edge, aggressive sound that had endeared them to the Warhol crowd.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Yule played music from an early age, learning to play several different instruments before reaching his twenties. Even though he briefly tried his hand at acting school, he says he always loved music and felt most comfortable when playing.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">"My reason for being in music was a hunger -- I couldn't have not been in music.", he remembers. "Playing music felt like I was home."</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Growing up on Long Island in the late 50's, he remembers the cultural and personal impact of the literary movement, embodied in authors like Jack Kerouac and Allen Ginsberg. In the 60's music grabbed the spotlight and rock and roll became the center of the collective cultural universe. He moved from his family’s home and eventually landed in Boston playing for a band called The Grass Menagerie. It happened that his managers were friendly with the manager for the Velvet Underground, Steve Sesnick. Sometimes the Velvets would stay in the same studio that Yule lived in while they were playing in Boston.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">It was during one of those visits, just prior to Cale's exit, that Sterling Morrison, guitarist and alternate bassist for the band, overheard Yule practicing and mentioned to the other band members Yule's improved playing. Once Cale was out, the Velvets began looking for a bassist and Yule's name happened to come up. The Velvet Underground, with their already established following, offered a prime opportunity for Yule to fulfill his rock and roll fantasy. When he was offered the opportunity to play in what was now essentially Lou Reed's band, he accepted without hesitation.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">"It all just sort of fell together.", Yule says about joining the band. "And then it all just sort of fell apart."</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Maureen "Moe" Tucker, drummer for the Velvets, remembers Doug as a "very good musician and singer" and "a very nice, sweet, even-tempered guy". Much to the contrary, Yule says he was a cocky and gullible young man of 21. Ready and willing to believe he could and would become a rock and roll star. He remembers that when he joined the thrust of the band was fame.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">"Today VU is this seminal group, known for breaking new ground, pushing the envelope, but back then it was just a bunch of guys who wanted to be famous.", he says.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Lou Reed, who actually spent the early part of his musical career penning pop hits like "Do The Ostrich", began to write more radio friendly tunes for the Velvets. The music they produced became more melodic, calmer and most notably, more listener friendly than their previous offerings. The final product on the next two albums, the third self-titled album (sometimes called the "Gray" album or the "Couch" album) and Loaded, reflected those changes greatly.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">"The songs were so completely different from what was going on at the time [during] the John [Cale] years.", Tucker recalls, referring to the Cale days as their "musically wacky" days.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">It's because of this noticeable change that fans associate the more commercially accessible Yule years with artistic demise of the band, especially in the case of Loaded, even though in reality the group achieved little commercial success at all. Reed, who quit before Loaded was even released, distanced himself from the album.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Yet despite all the negative feelings surrounding Loaded, two of the Velvet Underground's most famous and popular songs known today, "Sweet Jane" and "Rock and Roll", were from Loaded, which Yule not only performed on, but also collaborated on with Reed in terms of arrangement and production. Although Yule's musical contribution to the band's posthumous success cannot be disputed, fans and critics alike frequently blame him for the group demise.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Once Reed, one of the founding members, quit in 1970, many thought that the band would be finished as well. It might have happened that way if not for the Velvet's manager, Steve Sesnick. In an attempt to minimize Reed's impact on the album and maximize Yule's, Sesnick chose the back cover photo of Loaded, which featured Yule exclusively, and changed the order of the names of the band, featuring Yule at the top and Reed third. With the rights to The Velvet Underground moniker still in his hands, Sesnick could do just about anything he wanted.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">"It was still The Velvet Underground.", Yule says. "It's just that everyone else had quit."</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">According to Yule, Sesnick was a manipulator, continually using his managerial power to isolate band members and intensify any resentful feelings they might have for each other. Sesnick persuaded a trusting and ambitious Yule that The Velvet Underground could still achieve fame and that Yule was the man to lead them there.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">"I do think... that Steve started trying to make Doug the focal point.", Tucker says. "I think he figured he's cute, he's a good singer …and that more emphasis should be placed on Doug in order to attract the girl fans."</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">It was this hunger for fame that permeated the recording of the infamous fifth studio album, Squeeze. Never released stateside, it is an album many Velvets fans don't even know about and others wish they didn't. Referred to sometimes as Doug Yule's solo effort, it was actually more of an extension of Sesnick than most people are aware of. Yule says he had wanted Tucker to be a part of the recording of the album, but Sesnick nixed the idea, claiming Tucker would be too expensive to hire. Today Yule interprets Sesnick’s choice less as a monetary decision and more as an opportunity to further control the making of the album, seeing as Tucker would not allow herself to be easily manipulated.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">"I don’t think Moe would have been expensive in money, but too costly in terms of 'management', meaning that she didn’t take a lot of bullshit and would have taken a lot of 'handling' on Sesnick's part.", Yule says.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Yule also recalls how receptive Sesnick was to outside ideas regarding the "new" Velvet Underground's work.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">"I remember sitting on a plane writing extensive notes on the mixing of the album.", he says. "I sent it to Steve and none of my suggestions were taken, I'm sure he didn't even read it. He mixed it for the best possible commercial success."</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Yule says that even some of the lyrics were originally suggestions offered to him by Sesnick which he then expanded on.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">"It's really embarrassing.", he says. "I gave what I had at the time. There are parts of it I hate and parts I don't. But if I had to do it over again, it would be a completely different album, with different people and have nothing to do with Sesnick."</div><div class="separator" style="clear: both;">by <b>Jennifer Yule</b>, 1998</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">After Lou Reed left the Velvet Underground, bassist Doug Yule took control of the group. Retaining the name "The Velvet Underground," Yule assembled several new lineups of the band and toured the U.S. By the time Yule's VU recorded their first album, the band featured Boston-based vocalist Willie Alexander and was playing a set of conventional pop/rock songs. Squeeze appeared in 1973, and Yule broke up the band shortly after its release. Over the years, Squeeze has not only become increasingly rare -- after all, not many copies of the record were pressed -- it has virtually disappeared from the official Velvet Underground discography, and Yule's attempt to prolong the band's career has virtually been forgotten.&nbsp;</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The plagiarism is shameless -- and also misguided, because if nobody bought Loaded in the first place, who would want a glossy version of it? -- but it’s also the charm of Squeeze because Yule and his studio cats, headed by Deep Purple drummer Ian Paice, do create something that’s a square, cheerful knock-off of Loaded, containing none of the depth or innovation, but a little bit of its sunny swing. That’s hardly enough to make it unfairly maligned -- after all, it doesn’t just ride the coattails of VU’s legacy but deliberately co-opts their achievement -- but it’s listenable, something its reputation never suggests, and in a way, it’s almost fun to hear Yule ape Reed, provided that such shameless mimicry does not offend your sensibilities.&nbsp;</div><div class="separator" style="clear: both;">by <b>Stephen Thomas Erlewine</b></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">My feelings are diverse for this release, the relationship with the Velvet Undergound is only in the name and in the participation of Doug Yule in some of the (from 1968 and later) albums of Velvet Underground, the&nbsp; sound has nothing to do with the Velvets,&nbsp; the members are some Doug’s&nbsp; friends,&nbsp; and on the drums is the great Ian Pace from the&nbsp; Deep Purple fame. They&nbsp; travel in simply musical forms without special aspects, it would be honest if he called them Doug Yule’s Velvets, anyway enjoy it....</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ABlTBXts_20/XsQVma8IyVI/AAAAAAAANmo/cz0GBR0yDCMR7pTKvTWR-5MD4nQnBEsCwCLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-ABlTBXts_20/XsQVma8IyVI/AAAAAAAANmo/cz0GBR0yDCMR7pTKvTWR-5MD4nQnBEsCwCLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. Little Jack - 3:25<br />2. Crash - 1:21<br />3. Caroline - 2:34<br />4. Mean Old Man - 2:52<br />5. Dopey Joe - 3:06<br />6. Wordless - 3:00<br />7. She'll Make You Cry - 2:43<br />8. Friends - 2:37<br />9. Send No Letter - 3:11<br />10.Jack And Jane - 2:53<br />11.Louise - 5:43<br />All songs by <i>Doug Yule</i><br /><br /><b>The Velvets</b><br />*Doug Yule - Lead Vocals, Guitars, Keyboards, Bass<br />*Walter Powers - Bass<br />*William Alexander - Vocals, Keyboards<br /><i><b>With</b></i><br />*Ian Paice – Drums<br /><br /><a href="https://controlc.com/236a9d2c">Free Text&nbsp;</a><br /><a href="https://freetexthost.net/UpikcOM">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0tag:blogger.com,1999:blog-7380084716739328494.post-81492969490556268042020-05-19T08:31:00.000+03:002020-05-19T08:31:01.434+03:00Love - False Start (1970 us, excellent acid psych rock, 2008 remaster)<div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-SiwVlg47AqE/XsF1ETMtJHI/AAAAAAAANmQ/MbxfEZey4wUZMsSx-S7vVUwqopdH8ufRwCLcBGAsYHQ/s1600/Front%2BCover%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="984" data-original-width="1000" height="314" src="https://1.bp.blogspot.com/-SiwVlg47AqE/XsF1ETMtJHI/AAAAAAAANmQ/MbxfEZey4wUZMsSx-S7vVUwqopdH8ufRwCLcBGAsYHQ/s320/Front%2BCover%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/Ld5BY5kTCyo" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">False Start is Love’s most blatantly commercial album since their 1966 self-titled debut. Less than half the length of Out Here, False ditches the psychedelic excesses for terse, cowbell-happy pub-rock. Supposedly, the album’s marquee track is “The Everlasting First”, which lacks any discernible hooks or insight but does feature some wah-wah wanking from one Jimi Hendrix, a phoned-in performance that, if uncredited, would be unidentifiable. And its lyrics are pretty puzzling: Lee begins with a love song, and ends up talking about the unjust persecutions of Jesus, Lincoln, and MLK.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">As a no-frills rock album, False Start is perfectly serviceable, diverse even. But as a Love album, it falls short, due more in part to lyrical superficiality than radio-ready concessions. Lee’s more pessimistic inclinations are masked, or chemically suppressed, with a hollow, up-with-people mentality. The man who once warned of water turning to blood and shooting bluebirds now sings of riding vibrations and sunshine. “Open up your heart and let the sun come shining in”, he suggests, a far cry from the fire-and-brimstone sermons he once recited. For finger-wagging sage advice, Lee can do no better than “You’re gonna reap just what you sow / I’m here to let everybody know / If you don’t do your best, you’re gonna find yourself in an awful mess”. “Stand Out”, a lesser track from Out Here, is duplicated in a rudimentary and no more impressive live version, and jaunty goofs like the immaturely titled “Slick Dick” (where Lee even admits “I know what it sounds like but it ain’t”) and “Gimi a Little Break” (note the Hendrix-fied spelling) further trivialize the album.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The band is tight and funky, the melodies are generous, and Lee is a versatile pop singer, probably more versatile than Hendrix even. It’s just that Lee is or was capable of so much more than these simplistic exercises. The double meaning of Love (hey, it’s an emotion, and it’s also the band name) is toyed with repeatedly, as on the eleven-minute “Love is More Than Words or Better Late Than Never” and “Love is Coming”, which might as well be a Monkees-esque self-referential theme song. At the end of “Keep on Shining”, Lee repeatedly shouts the word “love”, as though it’s imprisoning him, keeping him from shining, in fact.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">And perhaps that’s the lesson of these albums. Forever Changes is a work not simply of prophecy, but finality, digging the grave for ‘60s idealism before the movement even peaked. In its aftermath, both Love the band and love the concept are debunked myths and irrelevant jokes. The man who once proclaimed “the things that I must do consist of more than style" is now prizing style over substance. On Out Here and False Start, Lee has become a casualty of that which he once railed against: it’s a sad, harrowing portrait of one more artist harnessed by the shadow of his own masterpiece, and the certainty of his own convictions. In that respect, these albums represent the shortcomings of peace-love utopianism every bit as much as Lee’s more regularly heralded work.</div><div class="separator" style="clear: both;">by <b>Charles A. Hohman</b>, 17 Jul 2008</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-VXContUQpSc/XsF1HCphahI/AAAAAAAANmU/5KoerX1Nbdc0IRZJR5lvnG3wk9dMZZBcACLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-VXContUQpSc/XsF1HCphahI/AAAAAAAANmU/5KoerX1Nbdc0IRZJR5lvnG3wk9dMZZBcACLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. The Everlasting First - 3:01<br />2. Flying - 2:36<br />3. Gimi A Little Break - 2:10<br />4. Stand Out - 3:24<br />5. Keep On Shining - 3:52<br />6. Anytime - 3:26<br />7. Slick Dick - 3:08<br />8. Love Is Coming - 1:23<br />9. Feel Daddy Feel Good - 3:18<br />10.Ride That Vibration - 3:34<br />All songs by <i>Arthure Lee</i> axcept track #1 co-written with&nbsp; <i>Jimi Hendrix</i><br /><br /><b>Love</b><br />*Arthur Lee - Lead Vocals, Rhythm Guitar, Piano<br />*Gary Rowles - Lead Guitar<br />*Frank Fayad - Bass<br />*George Suranovich - Drums<br /><b><i>With</i></b><br />*Jimi Hendrix - Lead Guitar (track 1)<br /><br /></div><a href="http://therockasteria.blogspot.gr/2013/06/love-love-1966-us-amazing-garage-acid.html">1966 &nbsp;Love - Love (remaster and expanded)</a> <br /><a href="http://therockasteria.blogspot.gr/2013/07/love-da-capo-1967-us-psychedelic-rock.html">1967 &nbsp;Love - Da Capo (remaster and expanded)</a><br /><a href="https://therockasteria.blogspot.com/2020/05/love-forever-changes-1967-us.html">1967&nbsp; Love - Forever Changes (2018 four discs 50th anniversary edition)</a><br /><a href="https://therockasteria.blogspot.com/2020/05/love-four-sail-1969-us-eminent-acid.html">1969&nbsp; Love - Four Sail (2002 remaster and expanded)</a><br /><a href="https://therockasteria.blogspot.com/2020/05/love-out-here-1969-us-suberb-acid-psych.html">1969&nbsp; Love - Out Here (2008 remaster)</a><br /><a href="http://therockasteria.blogspot.gr/2014/04/love-lost-love-1971-us-outstanding-hard.html">1971 &nbsp;Love - Lost Love (2009 Sundazed release)</a><br /><a href="https://therockasteria.blogspot.com/2017/01/arthur-lee-with-band-aid-vindicator.html">1972&nbsp; Arthur Lee With Band Aid - Vindicator (2008 expanded)</a><br /><a href="https://therockasteria.blogspot.com/2017/01/love-black-beauty-1973-us-exciting.html">1973&nbsp; Love - Black Beauty (2013 bonus tracks)</a><br /><a href="http://therockasteria.blogspot.gr/2015/12/love-reel-to-real-1974-us-spectacular.html">1974 &nbsp;Love - Reel to Real (2015 deluxe sdition) &nbsp;</a><br /><a href="http://rockasteria.blogspot.gr/2014/01/arthur-lee-and-love-five-string.html">1992 &nbsp;Arthur Lee And Love ‎– Five String Serenade</a> <br /><br /><a href="https://controlc.com/7a92676a">Free Text</a><br /><a href="https://freetexthost.net/nESKaAn">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0tag:blogger.com,1999:blog-7380084716739328494.post-50651453397006975062020-05-17T10:36:00.005+03:002020-05-17T20:18:51.179+03:00Love - Out Here (1969 us, superb acid psych rock, 2008 remaster)<div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-b6KP_kJuuBI/XsDovqFgrNI/AAAAAAAANl8/xUKEuoc1XhoRFGOfjWA5usZQpB_I8udNgCLcBGAsYHQ/s1600/Front%2BCover%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="996" data-original-width="1000" height="318" src="https://1.bp.blogspot.com/-b6KP_kJuuBI/XsDovqFgrNI/AAAAAAAANl8/xUKEuoc1XhoRFGOfjWA5usZQpB_I8udNgCLcBGAsYHQ/s320/Front%2BCover%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/guHt_IwZfhk" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">What happens when the life you expected to end continues? Such was the predicament facing Love frontman Arthur Lee, who famously recorded his mortality-obsessed 1967 masterpiece Forever Changes under the impression he’d been worm food within a year. While Forever did not mark the end of Lee, it did mark the end of Love, at least its original line-up. By 1969, the still-very-alive Lee had assembled an entirely new band under the same moniker: players who, unlike Bryan MacLean (author of Love classics like “Alone Again Or” and “Softly to Me”), wouldn’t question or infringe upon Lee’s often dictatorial leadership. Indeed, these Phase 2 Love albums often play like Arthur Lee solo discs, with new musicians offering backup rather than additional (possibly competing) perspectives.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">After Four Sail, Love’s final Elektra album, the band moved to Blue Thumb Records, and promptly released the double album Out Here in 1969, and the ten-track False Start a year later. These first two Blue Thumb albums have recently been reissued on Collector’s Choice, and both illustrate Lee’s concerted efforts to distance himself from his old band, his old music, his old life, and his old self.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Culled mainly from the Four Sail sessions (a more cohesive, though not superior, album), Out Here is, like many two-discers of its time, messy, indulgent, sporadically brilliant and often infuriating. For example, “Doggone” is a lilting tune of loss, until it unravels on an eight-minute (!) drum solo. Many good tracks end too soon to feel complete, and many bad tracks squander early promise on meandering jams.&nbsp;</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Like many of his contemporaries, Lee was consuming drugs pretty liberally at this point, and the music reflects this. “Signed D.C.”, a tender acoustic plea to Love’s drug-addled first drummer from the group's debut, is reworked as a blistering rocker. Where on the original, Lee seemed distant and preachy when inhabiting the first-person perspective, he now seems to be living the drug fiend’s life. It’s a tacit there-but-for-the-grace-of-god-went-I moment: he demonically repeats the word “dealer” and omits the title entirely, thereby leaving the viewpoint unshifted. In essence, Lee has become D.C.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Out Here is full of stellar highlights: two brief and funny country songs (“Abalony”, “Car Lights on in the Daytime Blues”), two gospel-inflected ravers (“I’ll Pray for You”, “Run to the Top”), trippy drug songs (“I Still Wonder”, “You Are Something”) and some righteous throwaways, including “Discharged”, an obvious yet amusing anti-army rant that semi-blasphemously quotes “America the Beautiful”. Lee contributes his share of pretty tunes, but where Forever was meticulous and timeless, Out Here is often tossed off and dated. It has more in common with the garage-psychedelia of Love’s earlier albums than the folk-pop beauty of Forever. There’s little to impress those who adore Forever: Lee’s vocals are more forceful hard-rock strutter than stoic prophet, and his lyrics eschew epigrammatic wisdom for uninspired bromides.&nbsp;</div><div class="separator" style="clear: both;">by <b>Charles A. Hohman</b>, 17 Jul 2008</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-5RJ4JSSt8F0/XsDoyXF0DdI/AAAAAAAANmA/EiuWxZ61jxQNB75GtsRDyYIYOMsq2l1zgCLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-5RJ4JSSt8F0/XsDoyXF0DdI/AAAAAAAANmA/EiuWxZ61jxQNB75GtsRDyYIYOMsq2l1zgCLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. I'll Pray For You - 4:16<span style="white-space: pre;"> </span><br />2. Abalony - 1:46<span style="white-space: pre;"> </span><br />3. Signed D.C. - 5:15<span style="white-space: pre;"> </span><br />4. Listen To My Song - 2:24<span style="white-space: pre;"> </span><br />5. I'm Down - 3:47<span style="white-space: pre;"> </span><br />6. Stand Out - 3:00<span style="white-space: pre;"> </span><br />7. Discharged - 1:36<span style="white-space: pre;"> </span><br />8. Doggone - 12:00<span style="white-space: pre;"> </span><br />9. I Still Wonder - 3:05<span style="white-space: pre;"> </span><br />10.Love Is More Than Words Or Better Late Than Never - 11:20<span style="white-space: pre;"> </span><br />11.Nice To Be - 1:50<span style="white-space: pre;"> </span><br />12.Car Lights On In The Day Time Blues - 1:10<span style="white-space: pre;"> </span><br />13.Run To The Top - 3:00<span style="white-space: pre;"> </span><br />14.Willow Willow - 3:20<span style="white-space: pre;"> </span><br />15.Instra-Mental - 3:00<span style="white-space: pre;"> </span><br />16.You Are Something - 2:05<span style="white-space: pre;"> </span><br />17.Gather Round - 4:50<br />All songs by <i>Arthur Lee </i>axcept track #9 co-written with <i>Jay Donnellan</i><br /><span style="white-space: pre;"> </span><br /><b>Love</b><br />*Arthur Lee - Lead Vocals, Rhythm Guitar<br />*Frank Fayad - Bass Guitar<br />*George Suranovich - Drums<br />*Jay Donnellan - Lead Guitar<br /><b><i>With</i></b><br />*Paul Martin - Lead Guitar (track 5)<br />*Drachen Theaker - Drums (track 3)<br />*Jim Hobson - Piano, Orga, (tracks 1, 13)<br />*Gary Rowles - Lead Guitar (track 10)<br /><br /></div><a href="http://therockasteria.blogspot.gr/2013/06/love-love-1966-us-amazing-garage-acid.html">1966 &nbsp;Love - Love (remaster and expanded)</a> <br /><a href="http://therockasteria.blogspot.gr/2013/07/love-da-capo-1967-us-psychedelic-rock.html">1967 &nbsp;Love - Da Capo (remaster and expanded)</a><br /><a href="https://therockasteria.blogspot.com/2020/05/love-forever-changes-1967-us.html">1967&nbsp; Love - Forever Changes (2018 four discs 50th anniversary edition)</a><br /><a href="https://therockasteria.blogspot.com/2020/05/love-four-sail-1969-us-eminent-acid.html">1969&nbsp; Love - Four Sail (2002 remaster and expanded)</a><br /><a href="http://therockasteria.blogspot.gr/2014/04/love-lost-love-1971-us-outstanding-hard.html">1971 &nbsp;Love - Lost Love (2009 Sundazed release)</a><br /><a href="https://therockasteria.blogspot.com/2017/01/arthur-lee-with-band-aid-vindicator.html">1972&nbsp; Arthur Lee With Band Aid - Vindicator (2008 expanded)</a><br /><a href="https://therockasteria.blogspot.com/2017/01/love-black-beauty-1973-us-exciting.html">1973&nbsp; Love - Black Beauty (2013 bonus tracks)</a><br /><a href="http://therockasteria.blogspot.gr/2015/12/love-reel-to-real-1974-us-spectacular.html">1974 &nbsp;Love - Reel to Real (2015 deluxe sdition) &nbsp;</a><br /><a href="http://rockasteria.blogspot.gr/2014/01/arthur-lee-and-love-five-string.html">1992 &nbsp;Arthur Lee And Love ‎– Five String Serenade</a> <br /><br /><a href="https://controlc.com/2d62089b">Free Text</a><br /><a href="https://freetexthost.net/aIkUcUW">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0tag:blogger.com,1999:blog-7380084716739328494.post-58162942319096942372020-05-15T07:49:00.000+03:002020-05-15T07:49:00.470+03:00Love - Four Sail (1969 us, eminent acid psych rock, 2002 remaster and expanded) <div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-N6Mvc3-LoUU/Xrq3l7ihZmI/AAAAAAAANlQ/H3erAD-7jtMXe2QTRbiHokzOiXDkKc3PgCLcBGAsYHQ/s1600/Front%2BCover%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="986" data-original-width="1000" height="315" src="https://1.bp.blogspot.com/-N6Mvc3-LoUU/Xrq3l7ihZmI/AAAAAAAANlQ/H3erAD-7jtMXe2QTRbiHokzOiXDkKc3PgCLcBGAsYHQ/s320/Front%2BCover%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/Ea0N1UTGHX4" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">My favorite Love album is Four Sail (Elektra 1969). None of the original band members save for Arthur Lee are on this one. This album is an extraordinary voyage across genres. If it wasn’t so diverse and well-executed I might have written this album off as “pretentious, too proggy, jammy, etc…” but the musicianship is superb and tasteful, and everyone minds each other’s boundaries even at the album’s most intense moments.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The album opens with “August,” which wails away for five minutes. “Your Friend and Mine” is the perfect counterpoint/follow-up to the opening track; a beautiful baroque pop tribute to a friend who’d overdosed and died. The lyrics are heartfelt, yet vague enough to be played at any funeral.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">“I’m With You” is a very fluid and sweet uptempo number. “Good Time” starts out smooth as a pebble with a muted jazz guitar tone, and then transitions back and forth into shaking foundations and rocking the fuck out. “Singing Cowboy” rocks with a soulful mannerism and an awesome extended break. “Dream” is just a damn good ballad about nothing in particular, with really cool overdubbed whispers.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">“Robert Montgomery” sounds like Eleanor Rigby only for just a second, then turns into a totally different song. “Nothing” seems to be written about exactly that. The weird, enigmatic lyrics hint at this having been a leftover for the Forever Changes album that didn’t get recorded.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">“Talking In My Sleep” is an absolute treat with exemplary vocals and some odd harmonies that are totally reminiscent of Queen. I have long speculated that Freddie Mercury and/or Brian May dug this and used it as a sonic blueprint for part of their sound. “Always See Your Face” is a sweet and beautiful soul ballad which was featured in the movie High Fidelity. The brass treatment gives it a very English feel.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">One of the recurring themes throughout this album is the doubled vocals. Listen to the way Arthur Lee adeptly recorded another nearly identical vocal track over the original takes, making only subtle differences (sometimes in pitch, and sometimes with lyrics).</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">It is my opinion as a long-time musician and songwriter that there is not a bad tone or a single poorly-recorded instrument on this album. From croon to howl, shout to whisper, Arthur Lee covers just about every verb in the vocalist’s lexicon. I can’t be sure that Arthur Lee was responsible for writing every song on here, but the bottom line is, I’d like to see more musicians dedicate more effort and attention to detail into crafting songs like these. They are irregular and odd, yet somehow wonderfully palatable and diverse. They are original and enjoyable, excellently non-linear, and most importantly turn your brain on. Four Sail, indeed.</div><div class="separator" style="clear: both;">by<b> Kyle Hoffman,</b> October 14, 2014&nbsp;</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-XNvlf9L7ebM/Xrq3pndMkmI/AAAAAAAANlU/vU5AWLqICvgNdZb9E3YSRR2UmRCiPAeoACLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-XNvlf9L7ebM/Xrq3pndMkmI/AAAAAAAANlU/vU5AWLqICvgNdZb9E3YSRR2UmRCiPAeoACLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. August - 5:08<br />2. Your Friend And Mine - Neil's Song - 3:50<br />3. I'm With You - 2:43<br />4. Good Times - 3:33<br />5. Singing Cowboy (<i>Arthur Lee, Jay Donnellan</i>) - 4:48<br />6. Dream - 2:49<br />7. Robert Montgomery - 3:29<br />8. Nothing - 4:48<br />9. Talking In My Sleep - 2:49<br />10.Always See Your Face - 3:29<br />11.Robert Montgomery" (<span style="font-size: x-small;">Alternate Vocal</span>) - 3:35<br />12.Talking In My Sleep" (<span style="font-size: x-small;">Alternate Mix</span>) - 2:55<br />13.Singing Cowboy" (<span style="font-size: x-small;">Unedited Version</span>) (<i>Arthur Lee, Jay Donnellan</i>) - 5:52<br />All songs by <i>Arthur Lee</i> except where noted<br /><br /><b>Personnel</b><br />*Arthur Lee - Lead Vocals, Piano, Harmonica, Rhythm Guitar, Congas<br />*Jay Donnellan - Lead Guitar<br />*Frank Fayad – Bass, Backing Vocals<br />*George Suranovich - Drums, Backing Vocals<br />*Drachen Theaker - Drums<br /><br /></div><a href="http://therockasteria.blogspot.gr/2013/06/love-love-1966-us-amazing-garage-acid.html">1966 &nbsp;Love - Love (remaster and expanded)</a> <br /><a href="http://therockasteria.blogspot.gr/2013/07/love-da-capo-1967-us-psychedelic-rock.html">1967 &nbsp;Love - Da Capo (remaster and expanded)</a><br /><a href="https://therockasteria.blogspot.com/2020/05/love-forever-changes-1967-us.html">1967&nbsp; Love - Forever Changes (2018 four discs 50th anniversary edition)</a><br /><a href="http://therockasteria.blogspot.gr/2014/04/love-lost-love-1971-us-outstanding-hard.html">1971 &nbsp;Love - Lost Love (2009 Sundazed release)</a><br /><a href="https://therockasteria.blogspot.com/2017/01/arthur-lee-with-band-aid-vindicator.html">1972&nbsp; Arthur Lee With Band Aid - Vindicator (2008 expanded)</a><br /><a href="https://therockasteria.blogspot.com/2017/01/love-black-beauty-1973-us-exciting.html">1973&nbsp; Love - Black Beauty (2013 bonus tracks)</a><br /><a href="http://therockasteria.blogspot.gr/2015/12/love-reel-to-real-1974-us-spectacular.html">1974 &nbsp;Love - Reel to Real (2015 deluxe sdition) &nbsp;</a><br /><a href="http://rockasteria.blogspot.gr/2014/01/arthur-lee-and-love-five-string.html">1992 &nbsp;Arthur Lee And Love ‎– Five String Serenade</a> <br /><b><span style="color: blue;">Related Act</span></b><br /><a href="http://rockasteria.blogspot.gr/2013/02/bryan-maclean-ifyoubelievein-1966-82-us.html">1966-82 &nbsp;Bryan MacLean - Ifyoubelievein</a> <br /><br /><a href="https://controlc.com/a9750dff">Free Text</a><br /><a href="https://freetexthost.net/PEJyWPj">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0tag:blogger.com,1999:blog-7380084716739328494.post-43021752650926329852020-05-14T07:51:00.000+03:002020-05-14T07:51:04.675+03:00Joe Cocker - Joe Cocker! (1969 uk, excellent rock r 'n' b, 2017 SACD)<div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-UhfHa3tWsto/XrwypZiCoFI/AAAAAAAANlk/Sd-YHr2U1DwoAsYkSvzbnCYlKYGobe3VACLcBGAsYHQ/s1600/Cover%2BFront%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="883" data-original-width="1000" height="282" src="https://1.bp.blogspot.com/-UhfHa3tWsto/XrwypZiCoFI/AAAAAAAANlk/Sd-YHr2U1DwoAsYkSvzbnCYlKYGobe3VACLcBGAsYHQ/s320/Cover%2BFront%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/Q3cKu0MFYoM" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">Joe Cocker’s delightful second album is ample proof that the imagination that transformed a song so fixed in our minds as “With a Little Help From My Friends” has not run out of things to do, nor fallen into the trap of “stylization.”</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Joe, his Grease Band, and their friends — who together form one of the toughest rhythm and blues bands outside of the Motown studios — start from the bottom up in re-arranging material as familiar as “Dear Landlord” or “She Came In Through the Bathroom Window.” It’s not a matter of “improving” the songs, but of removing them from their original sound and conception to such a degree that they remain great music and still don’t really remind the listener of the original versions. The feeling one gets when listening to, say, Aretha’s version of “The Weight” — “Wow, they must have really been reaching on that one” — doesn’t happen when Joe and his band make music.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Not just anyone can carry off lines like those, from Leonard Cohen’s “Bird on the Wire”: “Like a bird on the wire … I will try, in my way, to be free.” When Joe sings it those words seem as timeless as the wisdom of the blues.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">If Cocker himself is beginning to sound like a master, his band has surprised as well. Their introduction to “She Came in Through the Bathroom Window” sounds like a fat man splitting his pants — and then Cocker falls in like he slipped on a bar of soap. The song itself has that hilarious circus sound of Dylan’s “Can You Please Crawl Out Your Window.” And maybe that’s not a coincidence.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">It would be fun to hear Cocker experiment with different sorts of back-up groups. While there are certainly limits to what he can do, they are broad enough to keep him going for a long, long time. Limits or no, what’s special about Joe Cocker is that he is so much fun to listen to, because the fun he’s having — on stage, picking his phantom guitar with mad frenzy, or on record, letting his own excesses communicate his real emotion — is completely infectious.</div><div class="separator" style="clear: both;">by <b>Greil Marcus</b>, February 21, 1970</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-wKzSjUaAC-Q/XrwyuD9-EUI/AAAAAAAANlo/yRACRbypAiokxlQnpdtCGWZbjoWsgggxgCLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-wKzSjUaAC-Q/XrwyuD9-EUI/AAAAAAAANlo/yRACRbypAiokxlQnpdtCGWZbjoWsgggxgCLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. Dear Landlord (<i>Bob Dylan</i>) - 3:26<br />2. Bird On The Wire (<i>Leonard Cohen</i>) - 4:29<br />3. Lawdy Miss Clawdy (<i>Lloyd Price</i>) - 2:14<br />4. She Came In Through The Bathroom Window (<i>John Lennon, Paul McCartney</i>) - 2:37<br />5. Hitchcock Railway (<i>Don Dunn, Tony McCashen</i>) - 4:41<br />6. That's Your Buriness Now (<i>Joe Cocker, Chris Stainton</i>) - 2:57<br />7. Something (<i>George Harrison</i>) - 3:32<br />8. Delta Lady (<i>Leon Russell</i>) - 2:51<br />9. Hello Little Friend (<i>Leon Russell</i>) - 3:53<br />10.Darling Be Home Soon (<i>John Sebastian</i>) - 4:42<br /><br /><b>Musicians</b><br />*Joe Cocker - Vocals<br />*Chris Stainton - Piano, Organ<br />*Leon Russell - Piano, Organ, Guitar<br />*Henry MCcullough - Guitar<br />*Clarence White - Guitar<br />*Sneaky Pete Kleinow - Pedal Steel Guitar<br />*Alan Spenner - Bass Guitar<br />*Bruce Rowland - Drums<br />*Paul Humphrey (Miscredited As "Paul Humphries") - Drums<br />*Milt Holland - Percussion<br />*Merry Clayton, Bonnie Bramlett, Rita Coolidge, Patrice Holloway, Sherlie Matthews - Background Vocals<br /><br /><a href="https://therockasteria.blogspot.com/2015/10/joe-cocker-with-little-help-from-my.html">1968&nbsp; Joe Cocker - With A Little Help From My Friends (2015 SACD)&nbsp;</a></div><a href="http://therockasteria.blogspot.gr/2014/12/joe-cocker-mad-dogs-and-englishmen-1970.html">1970 &nbsp;Joe Cocker - Mad Dogs And Englishmen (Deluxe 2005 two disc set)</a><br /><a href="http://therockasteria.blogspot.gr/2014/12/joe-cocker-stingray-1976-uk-fine-jazzy.html">1976 &nbsp;Joe Cocker - Stingray</a><br /><br /><a href="https://controlc.com/d74523c4">Free Text&nbsp;</a><br /><a href="https://freetexthost.net/tNakpaH">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0tag:blogger.com,1999:blog-7380084716739328494.post-24536801745421975422020-05-12T09:27:00.000+03:002020-05-12T09:27:00.282+03:00Lou Reed - Live (1975 us, fantastic live set, 2006 japan reissue)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-kKggZpF3DnQ/XrgdjPY1egI/AAAAAAAANk0/ITY2Ydrm6ocFmr-E-abval4pYmCthS-7wCLcBGAsYHQ/s1600/Front%2BCover%2BOBI%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="948" data-original-width="1000" height="303" src="https://1.bp.blogspot.com/-kKggZpF3DnQ/XrgdjPY1egI/AAAAAAAANk0/ITY2Ydrm6ocFmr-E-abval4pYmCthS-7wCLcBGAsYHQ/s320/Front%2BCover%2BOBI%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/yv4kXvlhTio" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">Perhaps the fact that Lou Reed’s curious career continues is more important than what he does with it at this particular stage. Had he accomplished nothing else, his work with the Velvet Underground in the late Sixties would assure him a place in anyone’s rock &amp; roll pantheon; those remarkable songs still serve as an articulate aural nightmare of men and women caught in the beauty and terror of sexual, street and drug paranoia, unwilling or unable to move. The message is that urban life is tough stuff — it will kill you; Reed, the poet of destruction, knows it but never looks away and somehow finds holiness as well as perversity in both his sinners and his quest.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Since leaving the Underground for a solo career at RCA, Reed’s star has shone very brightly commercially, less so artistically. Lou Reed, his first RCA LP, had strong songs, inept production. Transformer, excellently produced by David Bowie, brought Reed an AM radio hit, “Walk on the Wild Side,” but the paucity of much of the rest of the material was alarming. Berlin, unforgettable in many ways (not all of them good), has probably been underrated but was certainly not helped by the pretentiousness of the rock-opera/”masterpiece” ad campaign or Bob Ezrin’s soap-opera, cast-of-thousands overproduction. Sally Can’t Dance had one brilliant song: “Ennui.”</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Which leaves us Rock ‘n’ Roll Animal and its sequel, Lou Reed Live, both recorded at New York City’s Academy of Music December 21st, 1973. As it happens, I had seen Reed and a mediocre pickup band at Lincoln Center some months earlier in his first New York non-Velvets appearance and he was tragic in every sense of the word. So, at the Academy, I didn’t expect much and when his new band came out and began to play spectacular, even majestic, rock &amp; roll, management’s strategy for the evening became clear: Elevate the erratic and unstable punkiness of the centerpiece into punchy, swaggering grandeur by using the best arrangements, sound and musicians that money could buy; the trimmings, particularly guitarists Dick Wagner and Steve Hunter, were awesome enough so that if Reed were merely competent, the concert would be a success.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">And it was, as one can judge from the resultant albums. The band does not emulate the violent, hypnotic, dope-trance staccato power and subway lyricism of the Velvet Underground, but rather opts for a hard, clean, clear, near-royal Mott the Hoople/Eric Clapton (Layla) opulence and Reed sings out most of the songs in his effective street-talk style. Animal, coming first, naturally contains the best performances (“Intro/Sweet Jane,” “White Light/White Heat,” the first half of “Rock ‘n’ Roll”), but Live, while less satisfying, is not a tremendous letdown (“Vicious” is first-rate, “Satellite of Love” and “Sad Song,” nice). It’s hardly a classic, but it’s good. Perhaps it will put an end to the Lou Reed jokes. The man’s accomplishments may be few of late, but he is still one of a handful of American artists capable of the spiritual home run. Should he put it all together again, watch out.</div><div class="separator" style="clear: both;">by <b>Paul Nelson</b>, June 5, 1975</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-BU6MAIzMnso/XrgePVIQwJI/AAAAAAAANlE/z0sSgh9LkuUOsmWlGs4GesV2UZn8LmikQCLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-BU6MAIzMnso/XrgePVIQwJI/AAAAAAAANlE/z0sSgh9LkuUOsmWlGs4GesV2UZn8LmikQCLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><b>Tracks</b><br />1. Vicious - 5:55<br />2. Satellite Of Love - 6:03<br />3. Walk On The Wild Side - 4:51<br />4. I'm Waiting For The Man - 3:38<br />5. Oh, Jim - 10:40<br />6. Sad Song&nbsp; - 7:32<br />All songs by <i>Lou Reed</i><br /><br /><b>Personnel</b><br />*Lou Reed - Vocals<br />*Steve Hunter - Guitars<br />*Dick Wagner - Guitar, Vocal<br />*Prakash John - Bass, Vocals<br />*Pentti "Whitey" Glan - Drums, Percussion<br />*Ray Colcord - Keyboards<br />*Rob Hegel - Background Vocals ("Sad Song" Only)<br /><br /><a href="https://rockasteria.blogspot.com/2020/05/lou-reed-original-album-classic-1972-75.html">1972-76&nbsp; Lou Reed - Original Album Classics (2008 five disc box set)</a><br /><a href="https://therockasteria.blogspot.com/2020/05/lou-reed-rock-n-roll-animal-1974-us.html">1974 Lou Re</a><a href="https://therockasteria.blogspot.com/2020/05/lou-reed-rock-n-roll-animal-1974-us.html">ed - Rock 'N' Roll Animal (2006 japan edition)</a><br /><a href="https://rockasteria.blogspot.com/2011/12/lou-reed-street-hassle-1978-us.html">1978 Lou Reed - Street Hassle (2006 japan)</a><br /><div><a href="https://rockasteria.blogspot.com/2014/03/lou-reed-john-cale-and-nico-live-at.html">1972 Lou Reed, John Cale And Nico - Live At Bataclan Paris (2013 remaster)</a><br /><div><a href="http://therockasteria.blogspot.com/2012/08/velvet-underground-another-view-1967-69.html">1967-69&nbsp; Velvet Underground - Another View (SHM Japan)&nbsp;</a>&nbsp;</div></div><div><a href="http://therockasteria.blogspot.com/2012/08/velvet-underground-vu-1968-69-us-great.html">1968-69&nbsp; Velvet Underground - VU (japan remaster)</a><br /><br /><a href="https://controlc.com/5d2b60d1">Free Text</a><br /><a href="https://freetexthost.net/LdpBqOf">Text Host</a></div></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0tag:blogger.com,1999:blog-7380084716739328494.post-21492905688034534902020-05-11T07:54:00.000+03:002020-05-11T07:54:05.104+03:00Lou Reed - Rock 'N' Roll Animal (1974 us outstanding live recording, 2006 japan edition)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-KNHk_A7zEgw/XrfrXxsBSjI/AAAAAAAANkg/yFe7VmNb0uQz4O3L9ncmvOeK1Ec5kE3ZgCLcBGAsYHQ/s1600/Front%2BCover%2BOBI%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="872" data-original-width="1000" height="279" src="https://1.bp.blogspot.com/-KNHk_A7zEgw/XrfrXxsBSjI/AAAAAAAANkg/yFe7VmNb0uQz4O3L9ncmvOeK1Ec5kE3ZgCLcBGAsYHQ/s320/Front%2BCover%2BOBI%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/FiHKi2GKDiA" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">Ever since Beatlemania, it’s been standard operating procedure for rock bands to write, record, and perform their own music. We’re so used to this being how it is that no one ever stops to think how weird this auteur-driven, “all-in-one” approach to creating and disseminating rock product truly is; how hugely inefficient and sub-optimal, this idea that the person coming up with a song should also be the person tasked with presenting it on record and in concert. After all, the architect doesn’t pour the concrete herself, and even celebrity chefs usually delegate the messy chore of execution to their sous foot soldiers.&nbsp;</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Of course, one place where songwriting, recording, and live performance all collide—not always well—is the live album. Live albums are fascinating. Every live album asks the question: “How does this artist’s recorded work stack up against their ability to recreate it, as mediated by the imperfections of tangible reality?” In other words: How good is the artist at reproducing the music you love through their excitable and possibly drug-addled fingers, throats, and feet, all while sharing the same physical space as other people (fans) like you.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Some bands are better live. Some are worse. Some are the same amount of good or bad, just in a different way. And some sound exactly the same no matter whether they’re strumming into a laptop in their bedroom, sitting behind an expensive microphone at Abby Road, or plugging in in front of 17,000 people at the Hollywood Bowl. But usually there’s at least some variance—whether intentional or not.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">My hope with this column is to explore the many different types of live albums—compilations, condensed surveys of a single performance, complete concert documents, etc.—as well as the entire gamut of live concert (and concert album) experiences, from “This sounds exactly like the record!” to “This sounds nothing like the record!” and when each of those things may be good or bad.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">So! For our inaugural column, let’s cram in the earplugs and continue babying our $12 stadium kiosk beer as we travel back to the gritty streets of “Me Decade” New York City, to Lou Reed’s and the 1974 glam rock masterpiece, Rock ‘n’ Roll Animal.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">I first discovered Rock ‘n’ Roll Animal on weathered vinyl sometime in the late ‘90s, excavating the used crates at Park City, UT’s dearly departed Orion Music. The album remains my all-time favorite Lou Reed product: a digestible, tuneful epic dipped in equal parts grime and glitter, featuring just five songs—“Into/Sweet Jane,” “Heroin,” “White Light/White Heat,” “Lady Day,” and “Rock and Roll”—culled from a December 21st, 1973 concert at the East 14th Street Palladium in Manhattan. Reed’s band for the performance included guitarists Dick Wagner and Steve Hunter, bassist Prakash John, drummer Pentti Glan, and keyboardist Ray Colcord. Re-releases have included additional material recorded at the same show, but for our purposes here we’ll just be talking about the original release.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Maybe you’ve noticed, but rock critics aren’t allowed basic health services unless they go out of their way to point out the fact that Reed’s Velvet Underground was perhaps the key progenitor of what would shortly become known as Punk. But even as his (slightly younger) New York brethren were, by 1974, gearing up to begin the lo-fi movement in earnest at places like CBGB’s and Max’s Kansas City, Reed himself was drifting in a far different direction: glam.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Animal was released hot off the bedazzled heels of Reed’s 1973 rock opera Berlin but also, more crucially, 1972’s Transformer, produced by glitter gods Mick Ronson and David Bowie. Listening to Animal, it’s Transformer I think of most even though the album’s only non-Velvets song is actually a cut off Berlin, a sultry “Lady Day” that unspools like the aural translation of a crushed velvet cloak being dragged across a marble ballroom.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Hunter and Wagner’s static-buzz guitars recall Ronson’s six-string contributions Transformer’s “Vicious” and “Hangin’ Round”—a sound far more in line with Mott the Hoople than Johnny Ramone’s downstroke crunch. And really, apart from Reed’s songwriting, it’s Hunter and Wagner who carry the album, guitars coiled together like rubber tourniquets as they alternately sync up or wander, bathed in an extremely I love the ‘70s array of phasers and wah-wah pedals. (Hunter and Wagner would later become part of the second incarnation of the Alice Cooper Group, playing on such horror-schlock classics as Billion Dollar Babies and Welcome to My Nightmare.)</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Kicking off with a four-minute instrumental prologue, the album begins in earnest once the familiar groove of “Sweet Jane” hits, exploding like one of Andy Warhol’s Mylar balloons into ten tons of cellophane confetti. Side One is completed by a majestic 13-minute rendition of the Velvet’s “Heroin” during which Reed and his band are supremely confident, content to let the song’s slower parts float by like royal beatnik coffee bar poetry, then unironically selling the melodrama as the song ascends in narcotized grandeur.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">In addition to the aforementioned “Lady Day,” Side Two is bookend by a solid-but-definitely-plate-spinning “White Light/White Heat” and an extended rendition of “Rock ‘n’ Roll”—delivered as a joyous mission statement that unmasks the supposed too-cool-for-school Reed anything but above the fray.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Even if this 40-minute album represented the concert in its entirety, it’s hard to imagine anyone going home that night feeling ripped off. With the Velvet Underground, Reed and his bandmates reinvented the druggy gutters of the big city as a chilly art-rock daguerreotype. But at the beginning of his life as a solo artist, Reed took that daguerreotype, turned up the sodium footlights, and dressed it up with a cheap, sparkly costume-jewelry crown.</div><div class="separator" style="clear: both;">by <b>Matt Warren&nbsp;</b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-K0SRk3s7naU/XrfrbFm2CVI/AAAAAAAANkk/cqI5B_NhynIIydsXYGiz5FNrmaNFNMhrQCLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-K0SRk3s7naU/XrfrbFm2CVI/AAAAAAAANkk/cqI5B_NhynIIydsXYGiz5FNrmaNFNMhrQCLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. Intro/Sweet Jane&nbsp; (<i>Steve Hunter, Lou Reed</i>) - 7:46<br />2. Heroin&nbsp; - 13:13<br />3. How Do You Think It Feels - 3:41<br />4. Carolyn Says! - 3:55<br />5. White Light/White Heat&nbsp; - 5:21<br />6. Lady Day - 3:54<br />7. Rock 'n' Roll - 9:33<br />All songs written by <i>Lou Reed </i>unless otherwise indicated.<br /><br /><b>Musicians</b><br />*Lou Reed – Vocals<br />*Pentti Glan – Drums, Percussion<br />*Steve Hunter – Guitars<br />*Prakash John – Bass, Vocals<br />*Dick Wagner – Guitar, Vocal<br />*Ray Colcord - Keyboards<br /><br /><a href="https://rockasteria.blogspot.com/2020/05/lou-reed-original-album-classic-1972-75.html">1972-76&nbsp; Lou Reed - Original Album Classics (2008 five disc box set)</a><br /><a href="https://rockasteria.blogspot.com/2011/12/lou-reed-street-hassle-1978-us.html">1978 Lou Reed - Street Hassle (2006 japan)</a><br /><div><a href="https://rockasteria.blogspot.com/2014/03/lou-reed-john-cale-and-nico-live-at.html">1972 Lou Reed, John Cale And Nico - Live At Bataclan Paris (2013 remaster)</a>&nbsp;&nbsp;</div><div><a href="http://therockasteria.blogspot.com/2012/08/velvet-underground-another-view-1967-69.html">1967-69&nbsp; Velvet Underground - Another View (SHM Japan)&nbsp;</a>&nbsp;</div><div><a href="http://therockasteria.blogspot.com/2012/08/velvet-underground-vu-1968-69-us-great.html">1968-69&nbsp; Velvet Underground - VU (japan remaster)</a><br /><br /><a href="https://controlc.com/20652b3f">Free Text</a><br /><a href="https://freetexthost.net/SFlCgyU">Text Host</a></div></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0tag:blogger.com,1999:blog-7380084716739328494.post-89466651882415394012020-05-09T15:25:00.001+03:002020-05-10T09:14:29.807+03:00Love - Forever Changes (1967 us, masterpiece, 2018 four discs 50th anniversary edition)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-_UFwXl9WjLo/Xrad53FnbQI/AAAAAAAANj4/PONGCTYH8v0k1iHw3BsaWWVb3MV6dNiDQCLcBGAsYHQ/s1600/Front%2BCover%2BSticker%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="996" data-original-width="1000" height="318" src="https://1.bp.blogspot.com/-_UFwXl9WjLo/Xrad53FnbQI/AAAAAAAANj4/PONGCTYH8v0k1iHw3BsaWWVb3MV6dNiDQCLcBGAsYHQ/s320/Front%2BCover%2BSticker%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/SAclK1N7CwI" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">Forever Changes, the third album from the Los Angeles band Love, arrived on Elektra Records in November 1967 – the same month as The Moody Blues’ Days of Future Passed, Cream’s Disraeli Gears, The Beatles’ Magical Mystery Tour, Jefferson Airplane’s After Bathing at Baxter’s, The Hollies’ Butterfly, and The Monkees’ Pisces, Aquarius, Capricorn and Jones.&nbsp; Psychedelia was in the air, not to mention creativity and experimentation in music at an all-time high that is still largely unrivaled.&nbsp; Forever Changes emerged from this artistically fertile era in the mind of Love’s mercurial leader Arthur Lee, who was inspired to reveal his own, layered perspective in the wake of the Summer of Love.&nbsp; Despite lukewarm sales upon its release, the album has only grown in stature over the years.&nbsp; The new, deluxe 3-CD/1-LP/1-DVD 50th anniversary presentation by Rhino reveals it as an album that still sounds like no other, and one that bears repeated listening (preferably, in the various formats offered here).&nbsp; It’s a reflective, sometimes elegiac album of textured acoustic guitars, evocative orchestrations, and vibrant studio experimentation with folk, jazz, and Latin flavors – all in service of some of the most interesting and unusual songs to come out of the period.&nbsp; The new box set makes the case for Forever Changes as a masterwork – not that it was in doubt, anyway.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The album originally entitled The Third Coming of Love featured the five-piece line-up of singer/guitarist Lee, guitarist Bryan MacLean, lead guitarist Johnny Echols, bassist Ken Forssi, and drummer Michael Stuart.&nbsp; Lee, MacLean, Echols and Forssi had been in the band since the beginning, with Stuart becoming part of the seven-piece line-up behind sophomore LP Da Capo.&nbsp; Forever Changes would be the final album from this group, but little tension was evident on the record.&nbsp; Lee co-produced with Bruce Botnick, welcoming contributions both from The Wrecking Crew’s Carol Kaye, Hal Blaine, Don Randi, and Billy Strange; and a 12-piece orchestra led by arranger-conductor David Angel.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The spellbinding, melancholy “Alone Again Or” (one of just two songs on the album not composed by Lee, but by MacLean) not only became the LP’s lone single but also was selected as its leadoff track.&nbsp; It’s not hard to see why; its gentle, cascading, guitar-led melody lent itself to adornment with pensive strings and triumphant horns, including a Tijuana Brass-style trumpet.&nbsp; It proved the perfect prelude to, and set the tone for, the varied music that followed.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Though the title of “A House is Not a Motel” seemingly doffed its hat to “A House is Not a Home” by Burt Bacharach and Hal David, writers of Love’s hit “My Little Red Book,” that’s where the similarities end.&nbsp; “House” is an impressionistic and haunting rumination that touches on the horrors of the then-raging war, a theme that recurs throughout Forever Changes.&nbsp; The mystical folk-ish “Andmoreagain” was one of two songs featuring The Wrecking Crew along with Lee and Echols on rhythm guitar.&nbsp; The other was named for the famous fictional newspaper in which Superman’s alter ego, Clark Kent, worked: “The Daily Planet.”&nbsp; The track, melding a reasonably commercial melody and production with a world-weary, surreal slice-of-life lyric, is revealed in the liner notes as “the catalyst for this classic album,” as the success of the session with the Wrecking Crew motivated the band members to realize their own increasingly sophisticated musical visions.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">“Old Man,” written and sung by MacLean, had been performed by its author as early as 1966, but fit comfortably on Forever Changes.&nbsp; David Angel added its effective orchestration (disliked by MacLean) to what’s essentially a stark folk song with a message that can be interpreted as advocating for one’s discovery of faith (in MacLean’s own case, Christianity).&nbsp; Dark and wry, “The Red Telephone” ended the original Side One.&nbsp; An answer or antidote to The Summer of Love, it finds Lee looking down from his hillside on turmoil and strife.&nbsp; His voice is detached, distant, and ironically calm.&nbsp; The gorgeous string flourishes underscore the drama of the psychedelic ballad.&nbsp; Don Randi of The Wrecking Crew added the harpsichord.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Driven by Michael Stuart’s brisk drumming (encouraged by Lee) and stabs of trumpet, Side Two’s opening “Maybe the People Would Be the Times or Between Clark and Hillsdale” was rooted in autobiography as Lee recalled the band’s days playing on the Sunset Strip in whimsical, vivid fashion.&nbsp; Lighter still is “The Good Humor Man He Sees Everything Like This,” a pretty reflection of childhood and innocence that stands in stark contrast to the tone of much of the surrounding material.&nbsp; (Whether Lee is being ironic in the song is up to the listener.)</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">“Live and Let Live” was originally mooted for Da Capo but felt unsuitable for the band’s then-current lineup.&nbsp; The paranoid and occasionally risqué composition was a better match for Forever Changes and boasts the album’s most searing electric guitar.&nbsp; Rock and roll is also at the forefront of “Bummer in the Summer,” on which Lee adopted a Dylan-esque inflection spitting out rapid-fire lyrics.&nbsp; Echols incorporated a country influence into his guitar part. Cross that with a Bo Diddley rhythm and you have one of the oddest tracks on the LP.&nbsp; It’s eclipsed, however, by the closing “You Set the Scene.”&nbsp; The epic track is actually a mélange of three songs penned by Lee and assembled by Forssi.&nbsp; “You go through changes, it may seem strange/Is this what you’re put here for?” goes the lyrics to the mini-suite, as Lee questions life, mortality, war, and those forever changes (“Everything I’ve seen needs rearranging/And for anyone who thinks it’s strange/Then you should be the first to want to make this change/And for everyone who thinks that life is just a game/Do you like the part you’re playing?”)&nbsp; David Angel’s suitably majestic orchestration befit the big themes being addressed.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Rhino’s majestic box set offers Forever Changes in multiple formats.&nbsp; The original mono album is included on CD, and the original stereo album on CD, vinyl LP, and DVD (in 24/96 high resolution).&nbsp; In addition, the box includes an entire alternate mix on CD 3 as well as a full disc of outtakes and singles on CD 4.&nbsp; Most of this bonus material premiered a decade ago on Rhino’s 40th anniversary edition.&nbsp; (The outtake “Wonder People (I Do Wonder)” in the alternate mix was first issued in 2001.)&nbsp; Two previously unissued tracks, however, do premiere here: the backing tracks of “Wonder People” and “Live and Let Live.”</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The alternate mix is derived from a tape that was prepared during the mixing process.&nbsp; It’s a much rougher-hewn mix than the final, polished version and opens a window onto the choices made by co-producers Arthur Lee and Bruce Botnick in crafting the original LP.&nbsp; As for the unique single versions and outtakes, they add to one’s understanding and enjoyment of Forever Changes.&nbsp; Among the treasures are the final single from this iteration of Love (“Your Mind and We Belong Together” b/w “Laughing Stock”), released in June 1968, final and alternate backing tracks, session highlights (for “The Red Telephone”) and even an outtake of “Wooly Bully,” of all things.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The stereo version has been newly and felicitously remastered by Bruce Botnick, while Bernie Grundman has handled the mono mix.&nbsp; This marks the first appearance on CD or a digital format of the mono mix, which was originally created with the Haeco-CSG system.&nbsp; (The process converted a two-channel stereo mix into mono.)&nbsp; Although far from revelatory, the punchier, rare mono mix offers a new way to hear the familiar album.&nbsp; CD 3’s alternate presentation retains the 2008 mastering by Steve Hoffman, and CD 4 has been mastered by Dan Hersch and Dave Schultz.&nbsp; (Hersch and Andrew Sandoval were credited with mastering of the same tracks in 2008.)&nbsp; For the vinyl, Bernie Grundman has cut the lacquers from high-res digital files.&nbsp; Which version one prefers of the original album will largely be up to personal taste; the stellar vinyl is quiet and striking, not to mention authentic.&nbsp; The crispness, definition and intimate, up-front feeling of the stereo mix in 96/24 on DVD, however, is also hard to beat.&nbsp; (The DVD also includes the promotional video of “Your Mind and We Belong Together.”</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The set itself, produced with an eye for detail by Bill Inglot and Steve Woolard and beautifully designed by Now Sounds’ Steve Stanley, is packaged within a hardcover book-style package similar to what Rhino has employed for recent box sets from Ramones.&nbsp; A 16-page softcover booklet is included with both a detailed essay and track-by-track notes by Ted Olson.&nbsp; Brief notes on the bonus material are also present, as well as an introduction by Elektra founder Jac Holzman.&nbsp; The discs are all held in pockets.&nbsp; In every respect, this is an attractive and high-quality set that honors the album it represents.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Forever Changes would be the final album from this line-up of Love, and the final album for all members save Arthur Lee.&nbsp; By the time of the band’s last LP (1974’s Reel to Real), he would be the sole true member, backed by a group of hired guns.&nbsp; But Forever Changes captures a perfect moment from five talented musicians ready and willing to push the envelope to movingly chronicle their era.&nbsp; 50 years on, Forever Changes is no less beguiling – an album unlike any other and one clearly ahead of its time, as much as it is of that truly remarkable time.</div><div class="separator" style="clear: both;">by <b>Joe Marchese</b>, May 17, 2018</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-QpLdB1hR7xo/XraeIDmmKcI/AAAAAAAANj8/PpO80MA504sycPCT69TT3_WUkxzADn3NwCLcBGAsYHQ/s1600/Disc%2Bcopy001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-QpLdB1hR7xo/XraeIDmmKcI/AAAAAAAANj8/PpO80MA504sycPCT69TT3_WUkxzADn3NwCLcBGAsYHQ/s320/Disc%2Bcopy001.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: left;"><b>Tracks</b></div><b><i>Disc 1 (Stereo)</i></b><br />1. Alone Again Or (<i>Bryan MacLean</i>) - 3:17<br />2. A House Is Not A Motel - 3:32<br />3. Andmoreagain - 3:20<br />4. The Daily Planet - 3:31<br />5. Old Man (<i>Bryan MacLean</i>) - 3:00<br />6. The Red Telephone - 4:47<br />7. Maybe The People Would Be The Times Or Between Clark And Hilldale - 3:34<br />8. Live And Let Live - 5:26<br />9. The Good Humor Man He Sees Everything Like This - 3:07<br />10.Bummer In The Summer - 2:23<br />11.You Set The Scene - 6:49<br /><div class="separator" style="clear: both; text-align: left;"><span style="text-align: left;">All songs written by <i>Arthur Lee </i>except where stated</span>﻿</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/--CxeQIoRiPA/XraecC8upnI/AAAAAAAANkE/wWTjN87C2qUuNS2cfX5SmrbqkCpyUzJEQCLcBGAsYHQ/s1600/Disc%2Bcopy002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/--CxeQIoRiPA/XraecC8upnI/AAAAAAAANkE/wWTjN87C2qUuNS2cfX5SmrbqkCpyUzJEQCLcBGAsYHQ/s320/Disc%2Bcopy002.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both;"><b><i>Disc 2 (Mono)</i></b></div><div class="separator" style="clear: both;">1.Alone Again Or (<i>Bryan MacLean</i>) - 3:17 <span style="white-space: pre;"> </span></div><div class="separator" style="clear: both;">2.A House Is Not A Motel - 3:26</div><div class="separator" style="clear: both;">3.Andmoreagain - 3:20</div><div class="separator" style="clear: both;">4.The Daily Planet - 3:22</div><div class="separator" style="clear: both;">5.Old Man (<i>Bryan MacLean</i>) - 3:00 <span style="white-space: pre;"> </span></div><div class="separator" style="clear: both;">6.The Red Telephone - 4:45</div><div class="separator" style="clear: both;">7.Maybe The People Would Be The Times Or Between Clark And Hilldale - 3:34</div><div class="separator" style="clear: both;">8.Live And Let Live - 5:25</div><div class="separator" style="clear: both;">9.The Good Humor Man He Sees Everything Like This - 3:06</div><div class="separator" style="clear: both;">10.Bummer In The Summer - 2:33</div><div class="separator" style="clear: both;">11.You Set The Scene - 6:51</div><div class="separator" style="clear: both;">All songs written by <i>Arthur Lee</i> except where noted</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-kto_ZnhzoWM/XraerbaQvYI/AAAAAAAANkI/HegU8C3b678wtKyj2glAYed8-vwaYHxFQCLcBGAsYHQ/s1600/Disc%2Bcopy003.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-kto_ZnhzoWM/XraerbaQvYI/AAAAAAAANkI/HegU8C3b678wtKyj2glAYed8-vwaYHxFQCLcBGAsYHQ/s320/Disc%2Bcopy003.jpg" width="320" /></a></div><b><i>Disc 3 (Alternate Mix)</i></b><br />1. Alone Again Or (<i>Bryan Maclean</i>) - 3:15<span style="white-space: pre;"> </span><br />2. A House Is Not A Motel - 3:33 <span style="white-space: pre;"> </span><br />3. Andmoreagain - 3:24<span style="white-space: pre;"> </span><br />4. The Daily Planet - 3:40 <span style="white-space: pre;"> </span><br />5. Old Man (<i>Bryan Maclean</i>) - 3:07<br />6. The Red Telephone - 5:22 <span style="white-space: pre;"> </span><br />7. Maybe The People Would Be The Times Or Between Clark And Hilldale - 3:38 <span style="white-space: pre;"> </span><br />8. Live And Let Live - 5:37<span style="white-space: pre;"> </span><br />9. The Good Humor Man He Sees Everything Like This - 3:11 <span style="white-space: pre;"> </span><br />10.Bummer In The Summer - 2:30 <span style="white-space: pre;"> </span><br />11.You Set The Scene - 7:03<span style="white-space: pre;"> </span><br />12.Wonder People (I Do Wonder) (<span style="font-size: x-small;">Alternate Mix</span>) - 3:23<br />All songs written by <i>Arthur Lee</i> except where indicated<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-5eAVCedoabk/Xrae8nAH0LI/AAAAAAAANkU/9LTuYGYSq8AtTfgct8facsgAtUJPqzS0wCLcBGAsYHQ/s1600/Disc%2Bcopy004.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-5eAVCedoabk/Xrae8nAH0LI/AAAAAAAANkU/9LTuYGYSq8AtTfgct8facsgAtUJPqzS0wCLcBGAsYHQ/s320/Disc%2Bcopy004.jpg" width="320" /></a></div><b><i>Disc 4 (Singles and Outtakes)</i></b><br />1. Wonder People (I Do Wonder) (<span style="font-size: x-small;">Outtake-Original Mix</span>) - 3:20<br />2. Alone Again Or (<span style="font-size: x-small;">Single Version</span>) (<i>Bryan Maclean</i>) - 2:48<br />3. A House Is Not A Motel (<span style="font-size: x-small;">Single Version</span>) - 3:22<span style="white-space: pre;"> </span><br />4. Hummingbirds (<span style="font-size: x-small;">Demo</span>) - 2:41<br />5. A House Is Not A Motel (<span style="font-size: x-small;">Backing Track</span>) - 3:06<span style="white-space: pre;"> </span><br />6. Andmoreagain (<span style="font-size: x-small;">Alternate Electric Backing Track</span>) - 3:06<span style="white-space: pre;"> </span><br />7. he Red Telephone (<span style="font-size: x-small;">Tracking Sessions Highlights</span>) - 2:07<span style="white-space: pre;"> </span><br />8. Wooly Bully (<span style="font-size: x-small;">Outtake</span>) (<i>Domingo Samudio</i>) - 1:25<br />9. Live And Let Live (<span style="font-size: x-small;">Backing Track</span>) - 5:37<span style="white-space: pre;"> </span><br />10.Wonder People (I Do Wonder) (<span style="font-size: x-small;">Outtake - Backing Track</span>) - 3:30<span style="white-space: pre;"> </span><br />11.Your Mind And We Belong Together (<span style="font-size: x-small;">Tracking Sessions Highlights</span>) - 8:16<br />12.Your Mind And We Belong Together - 4:27<span style="white-space: pre;"> </span><br />13.Laughing Stock - 2:34<span style="white-space: pre;"> </span><br />14.Alone Again Or (<span style="font-size: x-small;">Mono Single Remix</span>) (<i>Bryan Maclean</i>) - 2:51<br />All songs written by <i>Arthur Lee</i> unless as else written<br /><br /><b>Love</b><br />*Arthur Lee - Lead Vocals, Guitar<br />*Johnny Echols - Lead Guitar<br />*Bryan Mac Lean - Rhythm Guitar,&nbsp; Vocals <br />*Ken Forssi - Bass Guitar<br />*Michael Stuart - Drums, Percussion<br /><b><i>With</i></b><br />*David Angel - Arranger, Orchestrations<br />*Robert Barene, Arnold Belnick, James Getzoff, Marshall Sosson, Darrel Terwilliger - Violins<br />*Norman Botnick - Viola<br />*Jesse Ehrlich - Cello <br />*Chuck Berghofer - String Bass<br />*Bud Brisbois, Roy Caton, Ollie Mitchell - Trumpets<br />*Richard Leith - Trombone<br />*Carol Kaye - Bass<br />*Don Randi - Piano <br />*Billy Strange - Guitar <br />*Hal Blaine - Drums <br /><br /><a href="http://therockasteria.blogspot.gr/2013/06/love-love-1966-us-amazing-garage-acid.html">1966 &nbsp;Love - Love (remaster and expanded)</a> <br /><a href="http://therockasteria.blogspot.gr/2013/07/love-da-capo-1967-us-psychedelic-rock.html">1967 &nbsp;Love - Da Capo (remaster and expanded) &nbsp;</a><br /><a href="http://therockasteria.blogspot.gr/2014/04/love-lost-love-1971-us-outstanding-hard.html">1971 &nbsp;Love - Lost Love (2009 Sundazed release) &nbsp;</a><br /><a href="https://therockasteria.blogspot.com/2017/01/arthur-lee-with-band-aid-vindicator.html">1972&nbsp; Arthur Lee With Band Aid - Vindicator (2008 expanded)</a><br /><a href="https://therockasteria.blogspot.com/2017/01/love-black-beauty-1973-us-exciting.html">1973&nbsp; Love - Black Beauty (2013 bonus tracks)</a><br /><a href="http://therockasteria.blogspot.gr/2015/12/love-reel-to-real-1974-us-spectacular.html">1974 &nbsp;Love - Reel to Real (2015 deluxe sdition) &nbsp;</a><br /><a href="http://rockasteria.blogspot.gr/2014/01/arthur-lee-and-love-five-string.html">1992 &nbsp;Arthur Lee And Love ‎– Five String Serenade</a> <br /><b><span style="color: blue;">Related Act</span></b><br /><a href="http://rockasteria.blogspot.gr/2013/02/bryan-maclean-ifyoubelievein-1966-82-us.html">1966-82 &nbsp;Bryan MacLean - Ifyoubelievein</a> <br /><br /><a href="https://controlc.com/36c13d17">Free Text</a><br /><a href="https://freetexthost.net/xDBEYGr">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com10tag:blogger.com,1999:blog-7380084716739328494.post-30984969383820682602020-05-07T19:56:00.000+03:002020-05-07T19:56:33.391+03:00The Monks - Black Monk Time (1966 us, trailblazer garage rock, 2009 remaster and expanded)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-6xSODNdv8y0/XrQ8dKgzBhI/AAAAAAAANjk/1Q2b7Fp8crgKk7E6oIwDTgvbzi7Qe0d7ACLcBGAsYHQ/s1600/Front%2BCover%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="976" height="320" src="https://1.bp.blogspot.com/-6xSODNdv8y0/XrQ8dKgzBhI/AAAAAAAANjk/1Q2b7Fp8crgKk7E6oIwDTgvbzi7Qe0d7ACLcBGAsYHQ/s320/Front%2BCover%2Bcopy.jpg" width="312" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/NzPBZ-fD-PE" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">The Monks story is, it's true, one of the more truly odd ones in annals of rock. But if it were only about their biography, that'd be one thing; and, instead, Black Monk Time is another thing entirely, far more than the product of an anecdote.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The one and only album for the Monks is one of the 'missing links' of alternative music history. Their simple, rhythmic, distorted, confrontational take on rock'n'roll earnt them few admirers at the time, but, with four decade's worth of hindsight, the still-thrilling Black Monk Time stands as possibly the first punk record, and is the obvious birthplace of krautrock.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">It's 1964, and five American GIs, living in post-war West Germany, form a rockband. In the beginning, they're a generic, Beatles-aping beat-group, but soon they undergo an evolution into something they called the "anti-Beatles."</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Taking under the wing of a pair of Situationist-minded, German advertising gurus, Walther Niemann and Karl-H.-Remy, the Monks are rebranded as a conceptual vehicle.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Composing a point-by-point Monks manifesto, the German managers re-sculpt the Monks as a reactionary outfit whose singular devotion to their band and newfound desire for audience-baiting are symbolized in one singular external gesture.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The Monks take to wearing black cassocks, with tonsures shaved on their heads, and nooses hung around their neck. Their only religious devotion is to the road; the band traipsing throughout West Germany playing show after show, often to audiences who despised them.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The Monks were clearly ahead of their time. With the gift of hindsight, we can see their music —as Julian Cope pointed out in his authoritarian tome Krautrocksampler— as being a clear link between the beat-music of the '60s, and the German krautrock of the '70s. Unlike their contemporaries, the Monks played with a slavish devotion to rhythm. Drummer Roger Johnston played a kit with no cymbals, relentlessly hitting on the beat. Dave Day played a banjo, but treated it more as a percussion instrument; his muted powerchords thumped out as dulled, metallic rhythms.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Black Monk Time is the sound of a combo drilled tight, sounding at once restrained and furious. Largely dodging familiar verse/chorus templates, its songs often lock into repetitive riffs like a needle in a lock groove, occasionally breaking to a complete stop, starting again after irregular pauses. It's, compositionally speaking, fascinating listening; something rock'n'roll of this era rarely is.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Over this rhythmic racket, guitarist Gary Burger lets out frantic yelps; squawking nonsense phrases and ad-hoc poetry with as little sense of melody as his band has. Showstopping opener "Monk Time" —essentially the band's introductory call-to-arms— is still the best example of the idiosyncratic Monks; Burger spewing the poetic equivalents of pop-art ("My brother died in Vietnam/ James Bond, who is he?/ Stop it! Stop it! I don't like it/ It's too loud for my ears") over a frenetic, unchanging tempo. It's lively, alive stuff, even 50-odd years on.</div><div class="separator" style="clear: both;">by <b>Anthony Carew</b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-zUvXoy0NiAs/XrQ8gEvjVOI/AAAAAAAANjo/IrwM2rtcTG83BBwWwKCRFP5bt-N8nS45QCLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-zUvXoy0NiAs/XrQ8gEvjVOI/AAAAAAAANjo/IrwM2rtcTG83BBwWwKCRFP5bt-N8nS45QCLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. Monk Time - 02:44<br />2. Shut Up - 03:14<br />3. Boys Are Boys And Girls Are Choice - 01:25<br />4. Higgle-Dy - Piggle-Dy - 02:28<br />5. I Hate You - 03:33<br />6. Oh, How To Do Now - 03:16<br />7. Complication - 02:22<br />8. We Do Wie Du - 02:11<br />9. Drunken Maria - 01:46<br />10.Love Came Tumblin' Down - 02:30<br />11.Blast Off! - 02:14<br />12.That's My Girl - 02:25<br />13.I Can't Get Over You - 02:44<br />14.Cuckoo - 02:43<br />15.Love Can Tame The Wild - 02:38<br />16.He Went Down To The Sea - 03:01<br />17.Pretty Suzanne - 03:55<br />18.Monk Chant (Live) - 01:59<br />All songs by <i>Gary Burger, Larry Clark, Dave Day, Roger Johnston and Eddie Shaw</i><br /><br /><b>The Monks</b><br />*Gary Burger - Vocals, Electric, 12 String Guitars<br />*Larry Clark - Vocals, Philicorda Organ, Piano<br />*Roger Johnston - Vocals, Drums<br />*Eddie Shaw - Vocals, Bass Guitar<br />*Dave Day - Vocals, Rhythm Guitar, Electric Banjo<br /><br /><a href="https://controlc.com/8c877a0c">Free Text</a><br /><a href="https://freetexthost.net/cBqFKmR">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com3tag:blogger.com,1999:blog-7380084716739328494.post-58733196470666319212020-05-05T10:22:00.003+03:002020-05-06T09:17:29.285+03:00John Mayall - John Mayall Plays John Mayal (1965 uk, fascinating blues roots 'n' roll, 2008 japan SHM and 2001 with extra tracks) <div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-sPk6fEC7cA4/XrETIxLwMdI/AAAAAAAANjQ/QF1Hftcu8pE1Km88uqn58ScKW9ccJWVRQCLcBGAsYHQ/s1600/Front%2BCover%2BOBI%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="820" data-original-width="1000" height="262" src="https://1.bp.blogspot.com/-sPk6fEC7cA4/XrETIxLwMdI/AAAAAAAANjQ/QF1Hftcu8pE1Km88uqn58ScKW9ccJWVRQCLcBGAsYHQ/s320/Front%2BCover%2BOBI%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/w0vZ-7X4tuk" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">John Mayall's debut album, recorded live in December 1964, is a little unjustly overlooked, as it was recorded shortly before the first of the famous guitarists schooled in the Bluesbreakers (Eric Clapton) joined the band. With Roger Dean on guitar (and the rhythm section who'd play on the Bluesbreakers with Eric Clapton album, bassist John McVie and drummer Hughie Flint), it has more of a rock/R&amp;B feel, rather like the early Rolling Stones, than the purer bluesier material Mayall would usually stick to in his subsequent recordings.&nbsp;</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The record doesn't suffer for this, however, moving along quite powerfully, and -- unusually for a British R&amp;B/blues band of the time -- featuring almost nothing but original material, all penned by Mayall. Nigel Stanger's saxophone adds interesting touches to a few tracks, the songs are quite good, and while Dean's guitar and Mayall's vocals aren't on the same level as the best instrumentalists and singers in the British blues-rock movement, they're satisfactory.&nbsp;</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The expanded CD edition added five enjoyable cuts that round up everything else recorded by the pre-Eric Clapton version of the Bluesbreakers, including the 1964 single "Crawling Up a Hill"/"Mr. James"; the early 1965 single "Crocodile Walk"/"Blues City Shakedown"; and the February 1965 outtake "My Baby Is Sweeter," which first showed up on the early-'70s British compilation Thru the Years. "Crawling Up a Hill" and "Crocodile Walk" also appear on the original John Mayall Plays John Mayall album in live performances, but the bonus track versions are entirely different studio recordings done for those non-LP singles, and are pretty good as well.</div><div class="separator" style="clear: both;">by <b>Richie Unterberger</b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-mUa0A595vlY/XrETLnzJUyI/AAAAAAAANjU/2bWyKKTD4c0cG1G1Qao7qFTVb5CntU1sACLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-mUa0A595vlY/XrETLnzJUyI/AAAAAAAANjU/2bWyKKTD4c0cG1G1Qao7qFTVb5CntU1sACLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br /><b><i>Original Album 1965</i></b><br />1. Crawling Up A Hill - 2:21<br />2. I Wanna Teach You Everything - 3:05<br />3. When I'm Gone (<i>Smokey Robinson</i>) - 3:08<br />4. I Need Your Love (<i>Walter Spriggs, Willie Spriggs</i>) - 4:08<br />5. The Hoot Owl - 2:35<br />6. R&amp;B Time - Consisting Of Night Train (<i>Jimmy Forrest, Lewis C. Simpkins, Oscar Washington) / Lucille (Al Collins, Richard Penniman</i>) - 2:15<br />7. Crocodile Walk - 2:26<br />8. What's The Matter With You - 2:34<br />9. Doreen - 2:46<br />10.Runaway- 2:25<br />11.Heartache - 2:57<br />12.Chicago Line - 4:10<br /><b><i>Bonus Tracks Japan SHM 2008</i></b><br />13.Crawling Up A Hill - 2:19 <span style="white-space: pre;"> </span><br />14.Mr. James - 2:51 <span style="white-space: pre;"> </span><br />15.Crocodille Walk - 2:16 <span style="white-space: pre;"> </span><br />16.Blues City Shakedown - 2:24 <span style="white-space: pre;"> </span><br />17.My Baby Is Sweeter (<i>Willie Dixon</i>) - 3:02<br /><b><i><br /></i></b><b><i>Bonus Tracks Rock Fever 2001</i></b><br />13.I'm Your Witchdoctor - 2:10<br />14.Telephone Blues - 3:57<br />15.On Top Of The World - 2:49<br />16.Lonley Years - 3:18<br />17.Bernard Jenkins (<i>Eric Clapton</i>) - 3:48<br />18.Burn Out Your Blind Eyes - 2:57<br />19.Milkman Strut - 2:23<br />20.Long Night (<i>John Mayall, Steve Anglo</i>) - 2:01<br />21.Evil Woman Blues (<i>Peter Green</i>) - 4:02<br />22.Greeny (<i>Peter Green</i>) - 3:53<br />23.All My Life (<i>Jimmie Lee Robinson</i>) - 4:22<br />24.Riding On The L &amp; M (<i>Dan Burley, Lionel Hampton</i>) - 2:27<br />25.Eagle Eye - 2:49<br />All songs by <i>John Mayall</i> except where noted<br /><br /><b>Personnel</b><br /><b>(Original Album)</b><br />*John Mayall - Vocals, Harmonica, Cembalett, Organ, 9 String Guitar<br />*Roger Dean - Guitar<br />*John Mcvie - Bass Guitar<br />*Hughie Flint - Drums<br />*Nigel Stanger - Tenor Saxophone, Slide Saxophone<br /><br /><a href="https://therockasteria.blogspot.com/2020/03/john-mayall-thru-years-1964-71-uk.html">1964-71&nbsp; John Mayall - Thru The Years</a></div><a href="http://therockasteria.blogspot.gr/2013/03/john-mayall-bluesbreakers-with-eric.html">1966 &nbsp;John Mayall Bluesbreakers With Eric Clapton (Japan SHM double disc set)</a><br /><a href="http://therockasteria.blogspot.gr/2015/04/john-mayall-and-bluesbreakers-hard-road.html">1967 &nbsp;John Mayall And The Bluesbreakers - A Hard Road (Double Disc Set)</a><br /><a href="http://therockasteria.blogspot.com/2017/09/john-mayalls-bluesbreakers-crusade-1967.html">1967&nbsp; John Mayall's Bluesbreakers - Crusade (2007 SHM remaster with extra tracks)</a><br /><a href="https://therockasteria.blogspot.com/2020/02/john-mayall-blues-from-laurel-canyon.html">1968&nbsp; John Mayall - Blues From Laurel Canyon (2007 Japan SHM remaster)</a><br /><a href="http://therockasteria.blogspot.gr/2015/02/john-mayall-turning-point-1969-uk.html">1969 &nbsp;John Mayall - The Turning Point (Remaster And Expanded)</a><br /><a href="http://therockasteria.blogspot.gr/2015/04/john-mayall-moving-on-1972-uk-awesome.html">1972 &nbsp;John Mayall - Moving On (2009 remaster)</a><br /><a href="http://rockasteria.blogspot.gr/2013/07/various-artists-raw-blues-1967-uk-us.html">1967 &nbsp;Various Artists - Raw Blues</a><br /><br /><a href="https://controlc.com/b57a01a1">Free Text</a><br /><a href="https://freetexthost.net/IbmGWUq">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0tag:blogger.com,1999:blog-7380084716739328494.post-29546592988239609512020-05-03T09:05:00.000+03:002020-05-03T09:05:04.272+03:00Randy Newman - Sail Away (1972 u, blistering musical masterpiece, 2002 remastered and expanded)<div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-E9W_1Gvbwxk/Xq5ddxDn7-I/AAAAAAAANi8/me15xp-vxhQRGvriXPcqThhdO9b-0dTFgCLcBGAsYHQ/s1600/Front%2BCover%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="980" data-original-width="1000" height="313" src="https://1.bp.blogspot.com/-E9W_1Gvbwxk/Xq5ddxDn7-I/AAAAAAAANi8/me15xp-vxhQRGvriXPcqThhdO9b-0dTFgCLcBGAsYHQ/s320/Front%2BCover%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/5FIOxM3CN6Y" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">On his third studio album, Randy Newman found a middle ground between the heavily orchestrated pop of his debut and the more stripped-down, rock-oriented approach of 12 Songs, and managed to bring new strength to both sides of his musical personality in the process. The title track, which Newman has described as a sort of commercial jingle written for slave traders looking to recruit naïve Africans, and "Old Man," in which an elderly man is rejected with feigned compassion by his son, were set to Newman's most evocative arrangements to date and rank with the most intelligent and effective use of a large ensemble by anyone in pop music.&nbsp;</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">On the other end of the scale, "Last Night I Had a Dream" and "You Can Leave Your Hat On" are lean, potent mid-tempo rock tunes, the former featuring some slashing and ominous slide guitar from Ry Cooder, and the latter a witty and willfully perverse bit of erotic absurdity that later became a hit for Joe Cocker (who sounded as if he took the joke at face value). Elsewhere,&nbsp;</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Newman cynically ponders the perils of a stardom he would never achieve ("Lonely at the Top," originally written for Frank Sinatra), offers a broad and amusing bit of political satire ("Political Science"), and concludes with one of the most bitter rants against religion that anyone committed to vinyl prior to the punk era ("God's Song [That's Why I Love Mankind]"). Whether he's writing for three pieces or 30, Newman makes superb use of the sounds available to him, and his vocals are the model of making the most of a limited instrument. Overall, Sail Away is one of Newman's finest works, musically adventurous and displaying a lyrical subtlety that would begin to fade in his subsequent works.</div><div class="separator" style="clear: both;">by <b>Mark Deming</b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-rOX6W_Jdm6Y/Xq5dg5c4spI/AAAAAAAANjA/XGt9Yx_zoG0igvToOSpPvFyYt3Upu1OdwCLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-rOX6W_Jdm6Y/Xq5dg5c4spI/AAAAAAAANjA/XGt9Yx_zoG0igvToOSpPvFyYt3Upu1OdwCLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. Sail Away - 2:52<br />2. Lonely At The Top - 2:35<br />3. He Gives Us All His Love - 1:56<br />4. Last Night I Had A Dream - 3:03<br />5. Simon Smith And The Amazing Dancing - 2:05<br />6. Old Man - 2:44<br />7. Political Science - 2:02<br />8. Burn On - 2:35<br />9. Memo To My Son - 1:55<br />10.Dayton, Ohio - 1903 1:51<br />11.You Can Leave Your Hat On - 3:18<br />12.God's Song (That's Why I Love Mankind) - 3:46<br />13.Let It Shine - 1:45<br />14.Maybe I'm Doing It Wrong (Studio Version) - 1:23<br />15.Dayton, Ohio - 1903 (Early Version) - 1:55<br />16.You Can Leave Your Hat On (Demo) - 2:47<br />17.Sail Away (Early Version) - 3:18<br />All compositions by <i>Randy Newman</i><br /><br /><b>Musicians</b><br />*Randy Newman - Piano, Vocals<br />*Ry Cooder - Slide Guitar<br />*Russ Titelman - Guitar<br />*Jim Keltner - Drums<br />*Gene Parsons - Drums<br />*Earl Palmer - Drums<br />*Chris Ethridge - Bass Guitar<br />*Wilton Felder - Bass Guitar<br />*Jimmy Bond - Bass Guitar<br />*Milt Holland - Percussion<br />*Abe Most - Alto Saxophone<br />*Emil Newman - Conductor<br />*Larry Marks - Conductor<br /><br /></div><a href="http://rockasteria.blogspot.gr/2014/12/randy-newman-12-songs-1970-us.html">1970 &nbsp;Randy Newman - 12 Songs (2010 Audio Fidelity HDCD)</a><br /><a href="https://therockasteria.blogspot.com/2016/04/rany-newman-born-again-1979-us.html">1979&nbsp; Randy Newman - Born Again</a><br /><br /><a href="https://controlc.com/3bde8e89">Free Text</a><br /><a href="https://freetexthost.net/gFRVViL">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0tag:blogger.com,1999:blog-7380084716739328494.post-8888775496000123862020-05-02T07:37:00.001+03:002020-05-02T07:37:57.238+03:00Snake Eye - The Journey (1970-72 uk, exceptional twin guitar rock with prog shades, 2006 remaster)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-iCijLjOBHx0/Xqz3mAHliQI/AAAAAAAANio/OIigp0HBrWAvdcDuWQtxLjtJjBQuvmAVgCLcBGAsYHQ/s1600/Front%2BCover%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://1.bp.blogspot.com/-iCijLjOBHx0/Xqz3mAHliQI/AAAAAAAANio/OIigp0HBrWAvdcDuWQtxLjtJjBQuvmAVgCLcBGAsYHQ/s320/Front%2BCover%2Bcopy.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/Bxrcm0fG0zY" width="460"></iframe></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;">Having released a 1970 album and played a few shows, the band Red Dirt decided that a change of name was their passport to fame and fortune and promptly became Snake Eye, under which guise Manfred Mann described this outfit as "one of the best bands he had seen". Praise indeed and if you like Wishbone Ash, you might well have agreed, for while Snake Eye were put in the same pot as both King Crimson and The Allmans, it's hard to shake off the feeling that the opening track from which their only album, The Journey, takes its name isn't a long lost Ash track. It's a thought that runs through this entire album, the long instrumental sections of "Sweet Dream Lady" or "The Heart Of A Young Boy" utilising a similar structure. "World In A Mountain" does go some way to revealing the Crimson comparisons and yet it would have to be a watered down version of that band who would have come up with the dextrous, yet much more straight ahead themes set out here.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Strangely for an album where they are buried deep within lengthy twin guitar interplay and booming rhythms, the vocals from Dave Ritchie offer a dreamy change of mood that fits the music well. Although there's little doubt that it's the fret work of Ritchie and Ron Hales, and how that melds keenly with Ken Giles' bass, that is the key to what makes The Journey as engaging as it is. Drummer Steve Jackson holds up his end of the deal, eagerly adding emphasis and style as does Gary Boroughs who appears behind the kit on two tracks to Jackson's four. Although it's also Jackson who plays on two additional bonus cuts, "Tolly Cobold" and "Hoe Down", neither of which seem connected in any way to the main album, both being a strange and unconvincing folk rock hybrid that neither shows the band in a great light, or add anything to The Journey other than length.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">The six main album cuts however are worth the price of entry alone, the easy mannered but pinpoint sharp and hugely memorable melodies this outfit were capable of weaving, really quite impressive. Personally I'd never heard of Snake Eye before this welcome Angel Air release, something explained by the fact that these recordings have never actually seen the light of day before. The debut Snake Eye album coming some 44 years too late for them to hit the big time. Which when you consider just how good their music was, is nothing short of a travesty. Fans of Wishbone Ash will lap up The Journey and wonder at what could have been for an undiscovered band that deserved so much more.&nbsp;</div><div class="separator" style="clear: both;">by <b>Steven Reid</b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Wioh6wJnO9o/Xqz3qFwo_sI/AAAAAAAANis/DWMl8HsrGRUjD5Qh9KDg46HLjrJmiMG7ACLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-Wioh6wJnO9o/Xqz3qFwo_sI/AAAAAAAANis/DWMl8HsrGRUjD5Qh9KDg46HLjrJmiMG7ACLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. The Journey - 3:48<br />2. World In A Mountain - 9:39<br />3. Sweet Dream Lady - 9:50<br />4. The Heart Of A Young Boy - 6:34<br />5. Don't Be A Fool (<i>Dave Richardson, Ron Hales</i>) - 6:25<br />6. The Journey's End - 13:16<br />7. Tolly Cobbold (<i>Dave Richardson, Ken Giles, Steve Jackson, Ron Hales</i>) - 2:40<br />8. Hoe Down (<span style="font-size: x-small;">Live 1972</span>) - 2:01<br />All compositions by <i>Dave Richardson</i> except where stated<br />Bonus Tracks 7,8<br /><br /><b>Snake Eye</b><br />*Steve Jackson - Drums<br />*Ken Giles - Bass<br />*Dave Richardson - Steel Guitar, Piano, Organ, Harmonica, Lead Vocals<br />*Gary Boroghous- Drums<br />*Ron Hales - Lead Guitar<br /><br /><b><span style="color: blue;">Related Act</span></b><br /><a href="https://rockasteria.blogspot.com/2013/06/red-dirt-red-dirt-1970-uk-fantastic.html">1970&nbsp; Red Dirt - Red Dirt (2010 expanded issue)&nbsp;</a><br /><br /><a href="https://controlc.com/9b16d728">Free Text</a><br /><a href="https://freetexthost.net/wOQMFFK">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com2tag:blogger.com,1999:blog-7380084716739328494.post-84029260742092493662020-04-30T17:32:00.001+03:002020-04-30T17:32:25.275+03:00Public Nuisance - Gotta Survive (1966-69 us, impressive garage rock, 2002 double disc remaster)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-nM-wH838cT0/XqregA4mg3I/AAAAAAAANiM/qsEgthv87S48S7PA9ygKb-V3GagiCpkRgCLcBGAsYHQ/s1600/Front%2BCover%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="996" height="320" src="https://1.bp.blogspot.com/-nM-wH838cT0/XqregA4mg3I/AAAAAAAANiM/qsEgthv87S48S7PA9ygKb-V3GagiCpkRgCLcBGAsYHQ/s320/Front%2BCover%2Bcopy.jpg" width="318" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><br /><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/4aAyUkTHnGA" width="460"></iframe></div><div style="text-align: center;"><br /></div>Gotta Survive is an essential reissue from Jack White’s Third Man Records label. If Public Nuisance is remembered today at all it’s due to their appearance on many of the day’s psychedelic ballroom posters.&nbsp; This group never released a single or LP in their lifetime but recorded two albums worth of material that sat on the shelf for over 30 years. Frantic Records first released a fine double disc anthology of Public Nuisance’s material which was followed up by this vinyl only reissue in 2012.<br /><br />The bulk of Gotta Survive was recorded in 1967-1968. A precursor group called Moss &amp; the Rocks released a mediocre garage folk-rock 45 in 1966 but the music on this record is much more experimental and exciting – garage psych with detours into folk-rock, hard rock and sunshine pop. Listening to Gotta Survive makes me think of a band caught between the primitive garage rock era (the Seeds, Music Machine, etc.) and the heavier, hard rock sounds that emerged in 1968 (think Blue Cheer or the underrated Yesterday’s Children). Public Nuisance also had a knack for catchy melodies and pop hooks as heard on the atmospheric “Sabor Thing.”&nbsp; They were a versatile group whose songs have inventive arrangements and pop friendly melodies.<br /><br />Tracks like the churning “Thoughts,” “Strawberry Man,” and “Magical Music Box” show the group wasn’t afraid to take a chance in the studio.&nbsp; “Magical Music Box,” a punchy rocker with Who/Move-like energy (without sounding like either of these groups) and fuzz propelled guitar work is a particular standout.&nbsp; “Small Faces,” a track Jack White has often covered live, is the album’s true classic – a powerful guitar heavy monster that has to rank as one of the best songs in the garage psych bag.&nbsp; “Ecstasy”, another gem, is the group at their most psychedelic and complex, featuring flutes, harpsichord and morose vocals.<br /><br />Had Gotta Survive been released in 1968 it would have ranked as one of the better psych albums of it’s day.&nbsp; Hopefully Third Man Records will offer up the group’s remaining material on a second vinyl installment.&nbsp; Public Nuisance may have been one of the era’s best kept secrets (hard luck acts) but it’s good to know that people still appreciate this music 45 years on.<br />by <b>Jason Nardelli</b>,&nbsp; January 16th, 2013<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-AD-HWENruco/Xqrek-veTCI/AAAAAAAANiQ/eHDUEe60k7Y_nufABNJWpeYdNjAqZ44XACLcBGAsYHQ/s1600/Disc%2Bcopy001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-AD-HWENruco/Xqrek-veTCI/AAAAAAAANiQ/eHDUEe60k7Y_nufABNJWpeYdNjAqZ44XACLcBGAsYHQ/s320/Disc%2Bcopy001.jpg" width="320" /></a></div><div class="separator" style="clear: both;"><b>Tracks</b></div><div class="separator" style="clear: both;"><b><i>Disc 1</i></b></div><div class="separator" style="clear: both;">1. Magical Music Box - 2:49</div><div class="separator" style="clear: both;">2. Strawberry Man - 2:42</div><div class="separator" style="clear: both;">3. Ecstasy (<i>Pat Minter</i>) - 4:44</div><div class="separator" style="clear: both;">4. Love Is A Feeling - 3:19</div><div class="separator" style="clear: both;">5. Holy Man - 2:39</div><div class="separator" style="clear: both;">6. Gotta Survive (<i>Pat Minter</i>) - 5:37</div><div class="separator" style="clear: both;">7. Small Faces - 2:56</div><div class="separator" style="clear: both;">8. Sabor Thing (<i>Pat Minter</i>) - 3:25</div><div class="separator" style="clear: both;">9. I Am Going - 5:59</div><div class="separator" style="clear: both;">10.Evolution Revolution - 3:47</div><div class="separator" style="clear: both;">11.7 Or 10 - 2:35</div><div class="separator" style="clear: both;">12.Thoughts - 3:27</div><div class="separator" style="clear: both;">13.There She Goes - 4:47</div><div class="separator" style="clear: both;">14.Please Come Back (<i>David Houston, Pat Minter</i>) - 3:20</div><div class="separator" style="clear: both;">All songs by <i>David Houston</i> except where noted</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-MM5pFnf54YY/Xqrek3l8KCI/AAAAAAAANiU/ttQITcxt3eoFTIGH9bSViIroexdIqPWoQCEwYBhgL/s1600/Disc%2Bcopy002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-MM5pFnf54YY/Xqrek3l8KCI/AAAAAAAANiU/ttQITcxt3eoFTIGH9bSViIroexdIqPWoQCEwYBhgL/s320/Disc%2Bcopy002.jpg" width="320" /></a></div><b><i>Disc 2</i></b><br />1. America (<i>Pat Minter</i>) - 3:22<br />2. Time Can't Wait - 2:40<br />3. Darlin' (<i>Pat Minter</i>) - 4:36<br />4. Now I Think - 3:02<br />5. Daddy's Comin' Home (<i>Pat Minter</i>) - 2:55<br />6. Pencraft Transcender - 3:20<br />7. Katie Shiner (<i>Pat Minter</i>) - 4:59<br />8. Man From The Backwoods - 2:10<br />9. One Man's Story (<i>Pat Minter</i>) - 5:55<br />10.I'm Only Sleeping (<i>John Lennon, Paul McCartney</i>) - 2:30<br />11.Hold On - 2:29<br />12.Going Nowhere - 8:24<br />13.There She Goes - 2:54<br />14.Please Come Back - 3:06<br />All songs by <i>David Houston</i> except where indicated<br />Tracks 13,14 from Disc 1 recorded early 1966 as Moss And The Rocks<br />Tracks 13,14 from Disc 2 recorded mid 1966 as Moss And The Rocks<br />Tracks 1 - 12 from Disc 1 recorded December 1968 to January 1969. 2 track stereo master. Remastered at Capitol Mastering Hollywood.<br />Tracks 1 - 12 from Disc 2 recorded September &amp; October 1968. 8 track master.<br /><br /><b>The Public Nuisance</b><br />*Ron McMaster - Drums, Percussion, Vocals<br />*Jim Mathews - Rhythm Guitar, Vocals<br />*Pat Minter - Bass, Vocals<br />*David Houston - Vocals, Lead Guitar, Keyboards, Harmonica<br /><br /><a href="https://controlc.com/80fbf191">Free Text&nbsp;</a><br /><a href="https://freetexthost.net/SfFLmjY">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com2tag:blogger.com,1999:blog-7380084716739328494.post-86926911942642280022020-04-27T17:43:00.000+03:002020-04-27T17:43:36.255+03:00Blue Ash - No More, No Less (1973 us, fascinating power pop glam rock, 2008 remaster)<div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-DkQAguJJR50/XqbuZ_a3dOI/AAAAAAAANh4/tNPFfUp38ccUOv3NU0CkTR_VOW6A_5YvQCLcBGAsYHQ/s1600/Front%2BCover%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="991" height="320" src="https://1.bp.blogspot.com/-DkQAguJJR50/XqbuZ_a3dOI/AAAAAAAANh4/tNPFfUp38ccUOv3NU0CkTR_VOW6A_5YvQCLcBGAsYHQ/s320/Front%2BCover%2Bcopy.jpg" width="317" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="320" src="https://www.youtube.com/embed/S3Leogzts08" width="460"></iframe></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Hailing from Youngstown, Ohio, Blue Ash are the great, forgotten power pop band of the early '70s. Actually, "forgotten" may be too strong a word, for any power pop fan worth their salt knows of Blue Ash even if they've never been able to score either of their two LPs. </div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Blue Ash were a rock band first and foremost, placing the sheer rush of sound over hooks, something that a lot of their progeny never did. That's what gives their debut No More No Less such a punch: they are one of the few groups that truly put some power in their pop.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">This much is evident by the raucous album-opener "Abracadabra (Have You Seen Her)," a song with all the melodic rush of "Go All the Way" but leaner and meaner. Not all of the album keeps up at this same furious pace, as the guitars jangle as much as they roar and the group occasionally dips into a loping country-rock groove and they do get sunbleached and mellow on "What More Can I Do." But most of No More No Less filters old-time rock &amp; roll (the big-time boogie "Let There Be Rock") and '60s guitar pop ("Plain to See" evokes the Searchers, "I Remember a Time" the Byrds, and "Anytime at All" is a Beatles cover) through the outsized amplification of '70s hard rock. It's an addictive sound -- and one that hinted at the power pop that was to come even if it didn't directly influence it and it still carries a mighty punch all these years later. - Stephen Thomas Erlewine, AllMusic</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">No More No Less is an astonishingly explosive debut, and with apparently limitless potential, Blue Ash should by all rights become a major phenomenon.&nbsp;</div><div class="separator" style="clear: both;">by <b>Ken Barnes</b>, Rolling Stone (07/19/73)</div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-C_P2RfORX0s/Xqbuc6fGnGI/AAAAAAAANh8/CNSTTWYF72wWNRrzURU-GDjIplv3JxIpQCLcBGAsYHQ/s1600/Disc%2Bcopy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="999" data-original-width="999" height="320" src="https://1.bp.blogspot.com/-C_P2RfORX0s/Xqbuc6fGnGI/AAAAAAAANh8/CNSTTWYF72wWNRrzURU-GDjIplv3JxIpQCLcBGAsYHQ/s320/Disc%2Bcopy.jpg" width="320" /></a></div><b>Tracks</b><br />1. Abracadabra (Have You Seen Her?) - 3:06<br />2. Dusty Old Fairgrounds (<i>Bob Dylan</i>) - 2:49<br />3. Plain To See - 2:42<br />4. Just Another Game - 2:57<br />5. I Remember A Time - 2:57<br />6. Smash My Guitar - 3:18<br />7. Anytime At All (<i>John Lennon, Paul McCartney</i>) - 2:21<br />8. Here We Go Again - 3:26<br />9. What Can I Do For You? (<i>Jim Kendzor</i>) - 3:49<br />10. All I Want - 2:58<br />11. Wasting My Time - 2:54<br />12. Let There Be Rock - 2:31<br />All songs by <i>Bill Bartolin, Frank Secich</i> except where stated<br /><br /><b>Blue Ash</b><br />*Frank Secich - Bass Guitar, Vocals<br />*David Evans - Drums, Vocals<br />*Bill "Cupid" Bartolin - Lead Guitar, Vocals<br />*Jim Kendzor - Lead Vocals, Rhythm Guitar<br /><br /><a href="https://controlc.com/02ce1e19">Free Text</a><br /><a href="https://freetexthost.net/QuLCnah">Text Host</a></div>Marioshttp://www.blogger.com/profile/11521078254326011558noreply@blogger.com0